I WANNA DANCE WITH SOMEBODY gets 8/10 Thank you for the music

Directed by Kasi Lemmons
Starring Naomi Ackie, Ashton Sanders, Nafessa Williams

8/10

It might not come as a surprise, but the best thing about new Whitney Houston biopic I Wanna Dance With Somebody is the music. With seven consecutive #1 hits, director Kasi Lemmons had an abundance of well-known tracks to work with and has made the most of it, giving viewers the chance to dance along to hits including Higher Love, The Greatest Love of All, Don’t Cry for Me, I’m Every Woman, How Will I Know, Home, Okay (It’s Not Right), and so many more (check out the soundtrack on Spotify for a great 80s and 90s dance session).

Seemingly aware that trying to imitate Houston’s incredible vocals was an almost impossible task (there is a reason she was called ‘The Voice’), the songs feature the authentic Houston vocals (original release and remixes), with excellent lip-syncing by British Actress Naomi Ackie.

Delving more into the life of the pop star, I Wanna Dance With Somebody gives insight into the music production process, from Whitney and producer Clive listening to songwriter’s cassettes, to the music video set, and finally the recording studio. These are the most fascinating parts of the film, and could have done with more detail. Accurate of the time, the film also portrays the industry’s unwillingness to accept LGBTQ artists and Whitney’s deep love for her best friend Robyn (Nafessa Williams). One wonders if Houston would have had a longer, healthier, happier career if she was able to live as her honest self.

The first half of the film makes you love Whitney, but you find yourself bracing for the fall. From the sneaky way she gets her drugs delivered, to the domestic violence of her marriage to Bobby Brown (Ashton Sanders), the second half of the film highlights the destructive choices made and the importance of knowing who to trust. A supernova may shine bright, but you still know that it is imploding.

I Wanna Dance With Somebody attempts to position itself as a female empowerment film, celebrating Whitney as she stands up to her father, to her husband, and even the radio jocks. The best line of the film is when she is criticised about her music not being “black enough,” replying “what I am is not obedient enough.” However, in the next scene Whitney contradicts that strength by caving to pressure and recording an R&B album. Her words may be strong but her actions are weak.

Overall, I Wanna Dance With Somebody is a paint-by-numbers biopic, honouring Whitney Houston’s memory, her music, and her talent, but not digging any deeper. It lacks the originality of the music biopics of recent years (Rocketman, Bohemian Rhapsody, Elvis), but stands tall as a celebration of her music.

MELISSA MANN