Whitney Houston is one of the greatest singers ever to have lived. With the power of her voice she smashed record after record, topping charts and selling billions of albums. But her success was blighted by addiction and ten years ago – aged just 48 – Houston died. Her cultural legacy remains unstoppable. Though there’s one aspect of Houston’s life that’s often overlooked. Houston was in a romantic relationship with her best friend, Robyn Crawford. And the relationship between them has inspired a new film, written and produced by lesbian icon Lena Waithe: Beauty.
Beauty tells the story of a young, African-American singer on the cusp of stardom. And though the film steers clear of names, there are undeniable parallels between Beauty’s life and Houston’s. Beauty grows up in a strict household with a controlling father and a gospel-singing mother. Her talent is first uncovered through the church choir. When Beauty is planning her image, the curly, face-framing wig she settles on is instantly recognisable as The Whitney. And Beauty is in love with her best friend, Jas.
Before Beauty’s release, many speculated over whether the film would make direct reference to the love affair between Houston and Crawford. This concern is understandable. Crawford has fought tooth and nail to have her relationship with Houston acknowledged. And to this day it still goes unrecognized in many mainstream accounts of her life.
Admittedly, some viewers will be disappointed that the only on-screen kiss between their fictional counterparts happens in the closing scene. But – from the very beginning – there’s never any ambiguity about the nature of their love.
In the opening scene Jas cradles Beauty with a casualness that speaks of longstanding intimacy. Before she signs her record deal, Beauty’s mother warns her that with fame comes scrutiny; that people will care who Beauty sleeps with, and the world isn’t ready for that side of her. Beauty’s mother also points out that her daughter and Jas share a bed. It isn’t just Beauty’s family who know. At Sinners’ – the local gay bar – Beauty and Jas are regulars. So much so that when Jas goes alone, people there are surprised.
There is no denial – after all, this film was written and produced by Lena Waithe. It was made with a distinctly lesbian gaze. Beauty kisses Jas. Beauty confesses love to Jas. Beauty even plans a future with Jas, using the money from her record deal to buy them a home together – where she and Jas slow dance to Tender Love.
Beauty’s relationship with Jas is central to her story. It’s her main source of joy. But it’s also the primary source of conflict in Beauty’s life – not just with her family, but the record label. Beauty is strongly encouraged to talk about her dream man in interviews. The executive even pressures Beauty and Jas to give up pet names and public displays of affection in order to “maintain a certain image” – that beauty is straight and available to men.
People claiming that Beauty isn’t clear enough about depicting a lesbian relationship are missing the point. Beauty is all about the pressure placed on a young singer by her family and record company – pressures similar to those which fuelled Houston’s addiction and early death.
We never see Beauty performing on stage or in the studio because this story isn’t about the glamor of stardom, but rather the never-ending personal cost of fame. The pressure to give up her girlfriend – the one truly stable and supportive influence in Beauty’s life – is central to the film’s plot. It’s also a big part what made Whitney Houston’s life so tragic.
Unfortunately, Beauty doesn’t do Houston justice. The film is too self-conscious to truly move. Silence is overused in a film that should be filled with song. We never hear Beauty sing – perhaps a recognition that no voice could compare to The Voice, but a decision that deprives the film of some desperately needed high points.
Snippets of Ella Fitzgerald, Donna Summer, Patti LaBelle, and all the great African-American divas of the last century punctuate the film. These clips contextualize Beauty in the culture, and show just how much thought she puts into preparing her performances. But the music cutting out mid-bar, the jagged scene changes, prevent Beauty from ever finding the kind of flow that made Houston’s voice soar.
Beauty isn’t a comfortable film to watch. There’s no feel-good factor. And that would be fine if this movie had anything meaningful to say about Houston’s life, or a new way of interpreting it. But it doesn’t. And while the romance between Beauty and Jas is exquisitely rendered, a constant magnetic pull shown between these characters, that doesn’t make up for the film’s failings.
Beauty is now streaming on Netflix
