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Wendy Williams is under fire for criticizing an upcoming film featuring the Queen of Soul, and Aretha Franklin’s camp is not having it.
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On Friday, the hot topic hostess took time on her hit talk show to tear into Franklin’s biopic “Amazing Grace” which was filmed in 1972 and shows the late singer in her natural element belting out church tunes with natural hair and with the film frames looking dated, The Detroit Free Press reported.
Williams blasted Franklin’s team for co-signing the release of the film, which is set to be premiere in April, criticizing Franklin’s look and tearing into the visuals. She also suggested that Franklin’s camp didn’t have professional people controlling the movie’s release and perhaps someone was mismanaging the estate of the singer who died last August.
“When you don’t have real professional people doing real professional things for you, sometimes you lose out.”
Franklin’s family clapped back in a lengthy statement, giving their truth and laying down facts about the film saying that Williams’ commentary “indicates that she has neither seen the documentary nor understands its import or intent.”
The film was shot by Sydney Pollack at an L.A. church decades ago, but the footage was reportedly stalled for years by Franklin who said that she never approved the use of her likeness.
The film has so far received favorable reviews. The family begs to differ with Williams’ critical comments and fired off a lengthy statement taking Williams’ to task.
“Aretha Franklin was an icon, a musical genius, and a much-awarded American cultural treasure. Therefore, it is astounding that on the March 15, 2019, broadcast of The Wendy Williams Show, host Wendy Williams made a series of inaccurate and disparaging statements about the Aretha Franklin concert film “Amazing Grace,” which opens in limited theaters on April 5, 2019, and nationally on April 19, 2019. Her commentary indicates that she has neither seen the documentary nor understands its import or intent.
First, “Amazing Grace” was conceived as a documentary. The footage was shot by Oscar-winning director Sydney Pollack in anticipation of broadcasting a once-in-a-lifetime event – a live gospel album recording – but was never completed for technical reasons. The film remnants were rediscovered, restored and championed over two decades by producer Alan Elliott. As such, the unburnished images capture Aretha Franklin in New Temple Missionary Baptist Church in Los Angeles in 1972, as a premiere R&B and gospel interpreter who had just notched eight consecutive R&B Number One hits. Ms. Franklin had specifically sought to perform in a stripped-down, church-service setting. By showing a brief clip out of context and mocking its quality on her show, Williams inaccurately represented Ms. Franklin and the movie to her audience.
Second, 1972 was the era of Black Power, and Black Is Beautiful. In her short natural hair and simple makeup, Ms. Franklin was in step with the times and appropriate to the occasion. There was no “showgirl glamor,” no “pressed hair” and no “eyelashes” – the lack of which Williams ridiculed on her program. The simplicity of the presentation gives “Amazing Grace” its power. Scholars, film critics, pop culture experts, and Hollywood stalwarts have raved about the film, including Oscar-winning director Spike Lee, who recently came aboard as a producer and told Variety the film is “mesmerizing and transformative.”
Third, Williams mentioned that Ms. Franklin “made an album from this.” She failed to note that the album is Aretha Franklin’s seminal recording “Amazing Grace,” which sold more than two million copies, earned a Grammy Award, and is still the biggest-selling live gospel album of all time. By not highlighting this fact, Williams further diminished both the documentary and Ms. Franklin’s legacy.
Fourth, Williams’ statement that “Nobody’s going to the movies to see a one-shot deal, like black-and-white,” is punitive and misinformed. Thousands if not millions are clamoring to see this full-color film; many have already enjoyed repeated viewings during last December’s Oscar-qualifying one-week run in L.A. and N.Y., where the film earned glowing reviews in publications from Rolling Stone to The New York Times. “Amazing Grace” earned a 95-average rating on Metacritic and a 96 critical score at Rotten Tomatoes.
Finally, Williams suggests that the Franklin Estate sought national distribution for “Amazing Grace” to satisfy the singer’s outstanding debts. This is not true. It is only through the approval of the Estate and the efforts of the film’s producers that it is finally being seen. The public rollout for “Amazing Grace” – which includes screenings at African American museums and black churches this month – has received support from African American pastors and fans across the country. And while Franklin had initially imposed an injunction on “Amazing Grace,” her objections had nothing to do with its quality; negotiations were incomplete at the time of her death. Her family feels this documentary is another prime example of The Queen of Soul’s genius.
Williams gave additional false information in her March 15 program. Sabrina Owens, Ms. Franklin’s niece and executor of her estate, has never been head of the singer’s security detail. Ms. Owens is a career professional who holds a Master’s degree and is employed as a chief negotiator at one of the nation’s top public universities. Further, she is the personal representative of her mother’s estate, singer and songwriter Erma Franklin. Owens also created the blueprint for Franklin’s Celebration of Life and week-long homegoing services. None of Ms. Franklin’s four sons has ever served as her manager. However, Franklin’s brother, Rev. Cecil Franklin, who was a Morehouse College graduate was her manager for more than 30 years, until his death in December 1989. Contrary to Williams’ derisive reference, there is no “Cousin Junebug” making decisions for the Estate.
Wendy Williams is the host of the most-watched daytime gossip show in syndicated television. However, that does not give her license to offer misleading commentary about a legacy entertainer based on unverified information. In this instance, the show’s research team let Williams down. At a time when the media is fighting a battle against “fake news,” Williams’ continues to perpetuate false facts, and her commentary was irresponsible.”
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