Film – Theatre Press

By Samuel Barson

The opening seconds of Maiden has the audience in the middle of a vast, raging ocean, rocking up and down with the waves as they breath in and out. It’s a thrilling start to a documentary, but unfortunately this same level of engagement doesn’t last.

Alex Holmes’ Maiden tells the story of Tracy Edwards, who at 24 rose the ranks from charter boat cook to skipper of the first ever all-female crew to enter the Whitbread Round the World Race.

The documentary accounts not only the Whitbread adventure itself, but also the rampant sexism that proved to be just as gruelling for Edwards and her crew. The film, at its core, is a story of women pitted against equal forces of nature and human nature. And unfortunately, this ground-breaking story succumbs to what I found to be director Alex Holme’s frustratingly simplistic approach to storytelling.

For 1.5 hours audiences are taken through Edward’s story from childhood, to up-and-coming skipper, to Whitbread success story, all the while battling all too eager chauvinism from male sports journalists and fellow sailors. It seems unlikely that there would be limited research material to draw upon with a story such as this, however the material that audiences are provided is incredibly scant.

The anecdotes from interviews are often recycled and the archival footage is regularly irrelevant to it’s corresponding voiceover section, and I found I became easily irritated that a story that is clear to be so rich in detail, is not being told in the way that it deserves.

It’s such a shame that director Alex Holmes missed an opportunity here to provide a louder voice to female unity as a statement against sexism in sport and evoke the same undeniable spirit of the story’s subjects.

Maiden is showing at limited cinemas from Thursday 17^th October.

Photography courtesy of the Toronto International Film Festival

Just Franklin and the power of her voice

By Narelle Wood

Some 47 years after filming, the documentary capturing Aretha Franklin’s seminal gospel recording of Amazing Grace has finally made it to screen.

In 1972, over two nights, Franklin, along with James Cleveland and the Southern California Community Choir (directed by Alexander Hamilton), recorded live gospel songs such as Precious Memories, What a Friend We Have in Jesus, and, of course, Amazing Grace. Keen on making it an authentic experience, Franklin insisted that the recording take place inside the New Temple Missionary Baptist Church, in front of a congregation; a congregation including Mick Jagger, Charlie Watts and gospel singer Clara Ward.

In an attempt to capture what would become a landmark event – the album going on to be the biggest selling gospel album of all time – Warner Bros commissioned director Sydney Pollack to document the recording. Pollack, an experience director, was not however accustomed to making documentaries, and this is where the trouble with the film begins. The original delay in the film’s release were due to ‘technical difficulties’; Pollack hadn’t used clapboards to mark sections of the film, making the task of syncing the visuals and sound almost impossible. Eventually Alan Elliot would take on the project and work tirelessly to bring it together, even amidst threats of legal action from Franklin herself due to missing contracts and payment disputes.

What Elliot and editor Jeff Buchanan have created is an immersive experience, giving an all to brief glimpse into the immense talent of Aretha Franklin and her voice’s ability to literally move people. Pollack’s lack of experience as a documentary maker is evident; it feels like the cameras have been given to some random onlookers with the only mandate to ‘hit record and capture this’. The footage is sometimes blurry and often jerky as a camera man moves from one location to the next. Some of the close-ups are uncomfortably close, and some of the camera angles are really awkward. But Elliot and Buchanan capitalise on this lack of polish, reminding the audience that this was first and foremost a recording session, and a documentary last.

The film hits all the right notes, quite literally. The pacing is good and there are a few cutaways that provide momentary insights into the work behind the scenes to produce such an event. There are no experts or commentary on Franklin other than that which occurred during at the original taping. It focusses purely on the recording and Franklin’s performance, which does not disappoint. My favourite part was seeing just how excited the choir was to be a part of the two night event.

In a time where stylised and sleek recreations of the lives of musical legends’ have begun to grace our screen, Amazing Grace offers a refreshing contrast with its authentic 70’s hair and clothing, offering no narrative and no explanation. It’s just Franklin and the power of her voice.

Amazing Grace is now playing in cinemas such as the Classic, Lido and Palace. Check websites for listings and prices.