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Nothing Compares

Country: United Kingdom, Ireland, Language: English, 97 mins

  • Director: Kathryn Ferguson
  • Writer: Eleanor Emptage, Kathryn Ferguson, Michael Mallie
  • Producer: Eleanor Emptage, Michael Mallie

CGiii Comment

It's been 20 odd years since Sinéad sang anything significant. Unfortunately, she has said and done many things that have been deemed significant...by herself and this rather sycophantic filmmaker.

Obviously, at the briefing, they all agreed to skip over the grey areas of this illustrious singer's non-illustrious career. Without a doubt, Ms O'Connor had full control over the final edit...the 'omissions' are bamboozling.

What's missing? Her.

Her story is narrated by her own voice-over. We do get to see 'her' [as she is now-ish] at the end, singing in hijab...with her conversion to Islam, Ms O'Connor's ferocious feminism has been extinguished. Considering what's going on in Iran, this lady's relevance has never been so irrelevant. Once, she defiantly ripped-up a photograph of the 'pope', now, she kowtows to any old misogynistic ayatollah. Integrity and hypocrisy have never been very good bed-mates.

Her mental health issues are missing...severe as they were, they can't be ignored...and yet, they are. Her troubles were put out there on social media, by her own hand, it was an agonising cry for help. Who helped? Surely, whoever did is a vital part of her story?

"I'm a dyke..." is missing. Not exactly conducive with her religious beliefs now. Let's just ignore it then.

Nothing Compares...is missing. What? The song that made her is never heard? Yes...it's like that David Bowie biopic that featured none of his songs! Much has been said about the [volatile] relationship between 'her' and Prince...here was the perfect moment to set the record straight...nada.

This all sounds very negative...but, Nothing Compares is not a bad film, it's just her version of her hand-picked events...half the story, half the picture.

Way back, in the late 80s, I saw Sinéad perform...she was electric. I bought the first 2 albums...I danced the 7 veils at The Bell [in Kings X] whenever Mandinka came on. I was once smitten.

So...this [film] is an ode to the Sinéad of yesteryear, when her flame was bright and unapologetic. And for that reason alone, it has to be applauded. In later years, we can all admit to the daftness of our youth...and, that is what is ultimately missing from this film...the daftness of the near-immediate international fame she experienced...Dorothy in the tornado!

We all go off the rails at some point in our lives. Then, most of us get back on track. Some don't, like Sinéad...hey, fame isn't everything it's cracked up to be. Just ask her...sadly, this filmmaker didn't.


Trailer...

The(ir) Blurb...

The story of one singer's phenomenal rise to worldwide fame, and how her iconoclastic personality resulted in her exile from the pop mainstream. Focusing on prophetic words and deeds across a five-year period (1987-1992), the film reflects on the legacy of this fearless trailblazer, through a contemporary lens.