By Ron Wynn
NASHVILLE, TN — The late Luther Vandross was a supreme balladeer, one of the finest at doing both contemporary pop and classic soul/R&B numbers. Despite his immense popularity throughout his lifetime, no one has done either a biopic or documentary on Vandross since his death in 2005. That is no longer the case, as Dawn Porter’s production “Luther: Never Too Much” made its debut at the Sundance Film Festival over last weekend. Porter got some big name backing for this project, as two of its producers include Jamie Foxx and Colin Firth. It’s an official selection of the Festival’s Premieres Program, and documents not only his career but some of his personal struggles.
Before attaining solo stardom, Vandross was a background vocalist of the highest caliber, backing among others David Bowie, Aretha Franklin and Dionne Warwick, while also being featured in the group Change. Once he began making records on his own, Vandross would often arrange and produce the tracks as well. He did that for other artists in addition, some of whom are spotlighted in the film. Porter blends everything from rehearsal footage to concert videos, mixing old interviews with Vandross with newer ones with his friends and family. The film begins with rehearsal clips of Vandross and company doing a cover of McFadden & Whitehead’s “Ain’t No Stoppin’ Us Now.”
It shows his careful study of other musicians, and covers his early life while also focusing on his background career and rise to fame. Some of the musicians interviewed are vocalist Valerie Simpson, Chic founder Nile Rodgers, jazz composer Nat Adderley Jr., and songwriter/bassist Marcus Miller. Another musician he backed, Roberta Flack, was the person who encouraged Vandross to go solo. The recording that ensued “Never Too Much” elevated him to the upper echelon in the pop music world.
For those interested, there’s also plenty of focus given to personal issues as well, though probably not as much as some would like regarding questions about sexuality. But ultimately “Never Too Much” will be viewed as a heavily musical portrait, with some but not overly extensive, treatment of his life off the bandstand.
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