The Arizona Republic

‘Whitney’ documentar­y honest, revealing, remarkable

‘Whitney’ examines highs and lows of a superstar

- Randy Cordova

The quick-and-easy version of Whitney Houston’s life goes something like this: The beautiful, talented superstar falls in love with notorious, hard-partying Bobby Brown. The two marry, and he takes her down the path of addiction, which ultimately leads to her death at age 48 in 2012.

Filmmaker Kevin Macdonald wisely knows that life isn’t quick and easy, however. That’s one reason why the documentar­y “Whitney” is such a revelation.

The film, made with the participat­ion of Houston’s family, offers a portrait of the singer that is intimate and quite raw. It’s celebrator­y and sad, looking at her triumphs but not shying away from the low points. Most of all, it’s clear-eyed and remarkably honest, and Macdonald shows a flair for illustrati­ng how Houston’s life fits in the bigger picture.

For example, the movie looks at her majestic 1991 Super Bowl rendition of “The Star-Spangled Banner.” It not only talks about the sheer popularity of the recording — she turned the national anthem into a Top 40 hit, for heaven’s sake — but it places it in the grander context of what that meant to the AfricanAme­rican community. That’s masterful filmmaking.

On the flip side, he isn’t afraid to look at how her troubles turned her into a punchline. He includes an “American Dad” gag that is particular­ly cruel in hindsight, but also didn’t raise many eyebrows when it first aired in 2005.

Macdonald also knows when to let audiences draw their own conclusion­s. He digs into her sometimes-uneasy relationsh­ip with black audiences. She was booed at the Soul Train Music Awards for her pop leanings, and the Rev. Al Sharpton called for a boycott of “Whitey Houston” music, which obviously pained the singer. Yet Sharpton also issued a statement of grief after her death. Macdonald includes all that without comment, which makes the hypocrisy all the more striking.

Given great access by the family, Macdonald goes deep into the Houston mythos, even if the woman at the center remains somewhat enigmatic. He — and the family members and friends interviewe­d — have theories about what went wrong. The final verdict seems to point to a countless number of facts and situations that caused the tragic downfall.

Landmines existed since her childhood (including the film’s most explosive revelation involving sexual abuse at the hands of a family member). Houston is described as sexually “fluid,” which was kept under wraps because it was at odds with her pop-star image. Those around her aimed to keep Houston away from best friend, personal assistant and reported romantic partner Robyn Crawford, who actually seemed to have the singer’s best interests in mind (Crawford does not participat­e in the film).

Houston surrounded herself profession­ally with family and friends; great for morale, but not so good for business or her personal health. Someone notes that when things were going astray, who was going to call her on it? If they did, they would be out of work. A lot of her entourage didn’t seem to view her as much more than an ATM; after all, this is a woman whose father sued her for $100 million once she was establishe­d as a superstar.

Mom Cissy Houston proudly recalls her daughter’s talents, but otherwise appears reticent. Bobby Brown actually shuts down Mcdonald when he asks about Houston’s drug use. But Houston’s brothers are open about leading her to marijuana and cocaine, even acknowledg­ing that Brown couldn’t keep up with them in their partying days. They obviously aren’t worried about protecting any celebrity image.

There is a lot of footage of Houston offstage. You see her in great shape early on, vital and funny, and not so great in her later years, as she chain smokes and joylessly rambles. She boasted a sharp personalit­y: She and her mom commiserat­e about the music business, ripping into both Janet Jackson and particular­ly Paula Abdul: “She’s singing off-key on the record!” Whitney moans hilariousl­y.

At the end, one is left with a sense of a woman who was never allowed to be who she really was and couldn’t avoid the traps that were placed in her path. You’re also reminded of the sheer talent and charisma that were often overlooked once she lost her way. “Whitney” can be quietly devastatin­g, because as you become emotionall­y involved in the film, you almost hope that a different outcome will emerge.

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 ?? ESTATE OF WHITNEY E. HOUSTON ?? Whitney Houston is the subject of Kevin Macdonald’s “Whitney.”
ESTATE OF WHITNEY E. HOUSTON Whitney Houston is the subject of Kevin Macdonald’s “Whitney.”

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