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A 1972 concert recording of Aretha Franklin’s best and biggest-selling gospel album, shot at the New Temple Missionary Baptist Church in Watts. Featuring astounding footage of Franklin at her mightiest and backed by an inspired, and inspiring, choir. Pollack’s direction has the wild warmth of the black action film genre that was just taking off in 1972, capturing Franklin’s incandescence. Generosity of spirit guides the film. USA, 2018, 89 minutes, rated G
Community Partners: Nyack Library, Nyack NAACP, Nyack Center, and Nyack Sketch Log. Nyack NAACP members receive the Rivertown Film member discount for tickets.
The trailer alone will move you (link above).
“This is obviously one of the great music films, less epic in scope than, say, The Last Waltz, but as glorious in communal feeling and South Los Angeles zeal as Wattstax (the natural partner for a double feature) and as musically imaginative as Stop Making Sense. What distinguishes Amazing Grace, what lifts it to the penthouse, is a mix of energy and moment.” – Wesley Morris, The New York Times
“It stands as a mighty historical document, a balm to the soul, and proof of genius.” – Ty Burr, Boston Globe
“Franklin’s voice remains so pure and galvanic that [this] is one of the few movies you could watch with your eyes closed, though you would hardly want to.” – Justin Chang, Los Angeles Times
“As a document of an iconic musician’s skills, the film is essential. But Amazing Grace is far more than that: watching it is a transcendent, spine-tingling, uplifting, utterly joyous experience.” – Anastasia Tsioulcas, NPR
“A concert documentary lost for decades in technical and legal wranglings but finally brought to the screen with every bead of sweat, every spangle, every soul-squeezing note intact.” – Leah Greenblatt, Entertainment Weekly
“It’s the closest thing to witnessing a miracle — just some cameras, a crowd and a voice touched by God.” – Peter Travers, Rolling Stone
“It offers a profound glimpse of one of the greatest and most influential voices in modern music.” – Chuck Bowen, Slant
