来自网友【第四个兔子】的评论2024.5.31观影。电影中触动我的几个点：首先，五十岁的Tina才打了一个漂亮的翻身仗。这个名字是由不尊重她的前夫未经她同意出于自身性幻想赋予的，离婚后的她被迫净身出户，拿到的只有这个玩笑般的名字。在上个世纪50-90年代，签约当时身无分文的她的经纪公司公然蔑称她为old black doughbag，她只好只身去英国发展，而这时的她已经不再年轻，自杀过好多次，不得不唱自己不喜欢的pop。在1989年，她终于在英国通过自己的活力和硬核的好嗓子再度翻红（也算是以自己的内容重新出道），50岁才成为世界巨星。那时的家暴还是那么不可言说，那时的女性还是那么被歧视，但Tina凭借着自己的才华和超强的生命活力（影片里观众形容她bouncing）终于守得云开见月明。五十岁一点也不晚。其次，Tina获得内心的救赎来自佛教。很难表达自己在大屏幕上看到Tina看汉字的佛经时自己的震撼心情。内在的宁静领向自我的确信，从而带来理想生活的显化。再次，Tina说自己变得自信勇敢是显化想要的生活，不受控制，逃离pua的关键。这也是我交流一年后学到的最重要一课：永远爱自己，永远肯定自己，永远自信。她对自己的认同是不漂亮的乡村女孩，从未被母亲爱过，因为事业繁忙和被控制也没有女性的朋友。我很佩服如此伤痕累累的她还可以在舞台上绽放出如此活力，感染着每一个看到她的人，就像李玟一样。但终于她不再只是给予而是接收许许多多的爱了。最后，作为公众人物，Tina把自己经历出版成书籍是为了让媒体不再讨论她和前夫曾经的组合。毕竟回答不想回答的问题，反复揭开伤疤二十年是人都会厌倦。但故事已经发布就不再属于Tina，反而激起传记电影的开发和更多的讨论及采访。本部纪录片，对Tina来说，希望是一个Closure。爱过，逃离过，低谷过，成功过，热烈活过一生后，追逐和光影散去，凡尘往事不被记起，平淡和爱人度过余生，Tina更喜欢这样的收梢。
来自网友【他他】的评论A torch-bearer for striking out on her own from a protracted abusive relationship and a legitimate, slam-bang black artiste reaches her crescendo at a mature age when most singers are over the hill, Tina Turner is an inspirational figure against sexism, agism and racism long before the woke era. Together, Brian Gibson’s 1993 biopic, and Dan Lindsay and T.J. Martin’s latest documentary make for complementing accompaniments to each other, spelling out Tina’s extraordinary life in details.WHAT’S LOVE GOT TO DO WITH IT stars Bassett as Tina and Fishburne and Ike, her ex-husband and helpmate as the half of Ike & Tina Turner. The film predominantly re-enacts their turbulent, violence-infused marital life and ends with a rousing note on Tina’s comeback success with the titular song. It is a dramatized version of the facts (according to Tina herself), and if the singing segments are excised, the remnant of the movie amounts to a hapless wife’s desperate and eventually successful attempt to get out of the clutches of her husband, who habitually whales at her at the drop of a hat, sometimes even rapes her afterwards.This may be tainted by presentism, but there is something iffy to demonize Ike as an out-and-out villain and shoehorn Tina as an abject victim of domestic and sexual abuse, since she is much more than that, the psychological reasons behind the fact that she chooses to stay with Ike for 16 years are much more complex than they appear to be, and Gibson’s film has no interest to probe into that fecund soil, Tina’s devotion to Buddhism is tokenized with one repeated mantra alone. Only in TINA, we suss that they can be psyched out in relation of her piteous upbringing (parents fighting constantly and then both leaving, left her behind), feeling unwanted and hankering for love, Tina makes a promise to Ike that she will never abandon him (Ike’s deep-seated insecurity is another untapped territory in the fictional feature) when they transition from mentor-and-protégée to a romantically linked couple. It is a mistake in hindsight, but one must give Ike his credit in molding a wide-eyed country girl Anna Mae Bullock into Tina Turner, the raging dynamo on stage with a heavy, raspy but immensely powerful timbre.WHAT’S LOVE… knows what appeals its audience most and makes a meal of it, factual fidelity gives way to tweaking here and there, like the bane which haunts the biopic genre, intentional simplification sours one’s appreciation. And if Gibson’s tactless direction isn’t worth much ovation, it is Bassett and Fishburne’s electrifying performances that truly matter, they are both nominated for an Oscar. For Fishburne, his Ike is like a tyrant without charisma, his musical talent is dwarfed by his outward meanness, it is a tricky, categorically objectionable role, yet, in Fishburne’s able hands, Ike isn’t merely a menacing-look monster (although the script makes him one), there is scant spark in his eyes, especially in the fictional confrontation scene where he pulls out his pistol, trying to earn an upper hand over the now liberated Tina, Fishburne has that stunning, almost transfixed look when he realizes that his browbeating pettiness can no longer intimidate Tina, Ike is licked, reduced to a pathetic fool, and that look alone makes him a human again, however remotely.Bassett, lip-syncing and imitating Tina’s stage flourishes like nobody’s business, has that wondrous flair of a real trouper, barring looking dubious to portray a 16-year-old Tina in the beginning, she is a phenomenon. Her version of Tina is a steelier, more angular ball of fire, and you know she will fight back, look how sinewy Bassett is! When that moment comes, you cheer for her but also pain to see how sadomasochistic their relation turns. If she doesn’t leave, the vicious circle will destroy her. The mere fact that both her and Fishburne are still waiting for that elusive second Oscar nomination can only reveal how Hollywood has failed them. TINA, the documentary, divided into 5 parts, has a more comprehensive examination of her life and is thoroughly pleasing, even uplifting when she finally rises above all the hurdles like a lotus, confident, resilient and blossoming, leaving her checkered past behind and letting go all the terror, rancor and regret, that is the story everyone should rave about. That said, it sounds a tad insincere for celebrities who claim to write their memoir as a cleansing therapy to bid adieu to those painful experiences, the truth is more likely, if that shit can sell, why not make some lucre out of it?Interviewees are limited to a few true insiders, although no one can refuse Oprah waxing lyrical about Tina. The footage of Tina belting out her signature songs has that infectiously raw affection and bears out why Tina is a born superstar on stage, she pulls out all her emotion into her songs, energizes them without restraint, and where does her endless energy comes from? It also controverts the conception that she owes Ike for her career, because she can shine whenever and wherever, give that woman a stage, she is the queen, indomitable, irresistible and utterly genuine.referential entries: Asif Kapadia’s AMY (2015, 8.3/10); Rupert Goold's JUDY (2019, 6.9/10); Bryan Singer, Dexter Fletcher’s BOHEMIAN RHAPSODY (2018, 7.5/10).Title: What's Love Got to Do with ItYear: 1993Country: USALanguage: EnglishGenre: Biography, Drama, MusicDirector: Brian GibsonScreenwriter: Kate Lanierbased on the book “I, TURNER” by Tina Turner and Kurt LoderMusic: Stanley ClarkeCinematography: Jamie AndersonEditing: Stuart H. PappéCast:Angela BassettLaurence FishburneVanessa Bell CallowayJenifer LewisChi McBridePhyllis Yvonne StickneyKhandi AlexanderPenny Johnson JeraldPamala TysonJames ReyneRaéVen KellyVirginia CapersCora Lee DayBarry Shabaka HenleyRob LeBelleRating: 7.3/10Title: TinaYear: 2021Country: USA, UKLanguage: EnglishGenre: Documentary, BiographyDirectors: Dan Lindsay, T.J. MartinMusic: Danny Bensi, Saunder JurriaansCinematography: Dimitri Karakatsansis, Megan StaceyEditing:Taryn Gould Carter Gunn, T.J. MartinCast:Tina TurnerKatori HallOprah WinfreyAngela BassettRating: 7.6/10
