Amazing Grace- Film Review

The beginning of the film immediately caught my attention when it mentioned the power words have in a song. Yes, the tune is what gets stuck in your head. But the words? That is what truly gets stuck in your heart and stays with you. The film said it best when it said that the words are what makes the connection with people. Music is a universal trait in every culture in the world, even though it is different everywhere in the world. The lyrics to these songs reflect the culture of the people who listen to them. Therefore, the lyrics connect people to culture itself.

The song “Amazing Grace” has been covered countless times by countless artists in its long history. Judy Collins explains its popularity as refresher of people’s inner memories. I can relate to this because I do not remember ever learning the song, I cannot remember not knowing it. Judy Collins sang it in the 1970s as a powerful ballad in concerts and on the radio, while Jean Ritchie performed it has a folk song with her family. The differences in these versions show the versatility of the song. I think the song survives the different stylings because of the emotional connection people have with it. In Viper, Kentucky, there is a family that reunites once a year, and they have a tradition of singing “Amazing Grace.” All over the country and world, there are these stories of inner memories connected to the song.

In The Parish of Orley in England, they still sing “Amazing Grace” with their own memories attached to it. John Newton, the composer of “Amazing Grace,” was an English clergyman in the late 1700s who is being depicted in the film. He wrote this song as part of his weekly duties for the church. The song tells of his difficult life as a slave trader and God’s grace saving him, even if he was a “wretch.” In addition to being sung in churches, family reunions, and on radio stations, “Amazing Grace” has also been covered in Opera houses throughout the world.

Everyone has a past and the past is not always pretty. We have all had times of darkness or “wretchedness” that we feel we cannot possibly be saved from. Judy Collins talks about her personal dark times and how “Amazing Grace” served as her beacon of hope. It serves this purpose for many other people as well. It was even sung at the end of an hours-long rock concert for Nelson Mandela’s birthday.

The original composition of the song called for it to be sang in a simple and straight form. However, when it gained popularity in the 1960s, it took on a more lyrical form. In Folly Springs, Georgia, there is a church that sings the song with so much passion and emotion for the song. They sing it in a shape-note form. In Ozark, Alabama, the song was sang at a 91st birthday party. The Black Sacred Hearts also sing it in shape-note. The way you sing the song can change the entire feel of the song, but the emotion and meaning remain the same.

My personal favorite is Johnny Cash’s version, which I had heard long before watching this film. I was very happy to see him in the film. Johnny Cash went through so much in his life from the death of his brother to his addiction to drugs and alcohol. This song represented his journey to redemption. He sang “Amazing Grace” in is first prison concert at Huntsville in Texas in 1957. The prisoners there also had deep connections to the songs, some to the point of tears. These hardened men who did unspeakable things, found the true meaning of grace and peace. This song reminds them of that.

Music culture is ever-changing and will be until the end of time. As generations change, so does their chosen way to express themselves. Now, rap and pop and country music have become extremely commercialized, which represents our current culture. However, we still have those connections to the older and more reverent songs like “Amazing Grace.”

Source:

Amazing Grace: The Story of a Song That Makes a Difference. Directed by Elena Mannes, Performance by Johnny Cash, Judy Collins, Jessye Norman, Jean Ritchie, Marion Williams. Corporation of Public Broadcasting, 2003.

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