Taylor Swift: Miss Americana – first look review | Little White Lies

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Tay­lor Swift: Miss Amer­i­cana – first look review

24 Jan 2020

Words by Hannah Strong

A woman wearing a glittering, metallic costume with a high, sparkling collar. She has a serious, contemplative expression on her face.
A woman wearing a glittering, metallic costume with a high, sparkling collar. She has a serious, contemplative expression on her face.
One of the world’s biggest music artists bares her soul in this inti­mate, earnest docu-portrait.

With 15 years in the busi­ness, sev­en albums under her belt and an esti­mat­ed net worth of $360 mil­lion, it’s impos­si­ble to deny Tay­lor Swift’s work eth­ic – though plen­ty have tried. She’s been beat­i­fied and vil­i­fied over and over, all before her 30th birth­day, and Lana Wilson’s new behind-the-scenes doc­u­men­tary aims to set the record straight, offer­ing unprece­dent­ed access to the noto­ri­ous­ly pri­vate singer and her dizzy­ing world.

Through inter­views, stu­dio footage, home videos and con­cert record­ings, Wil­son paints a pic­ture of a young woman who achieved mete­oric lev­els of fame at a remark­able age, and has spent the ensu­ing years rein­vent­ing her­self at the behest of not only fans but the indus­try, which demands so much more from women than men.

Swift arguably has it eas­i­er than most, being a white, mid­dle-class, beau­ti­ful woman with a sup­port­ive fam­i­ly, who moved from Penn­syl­va­nia to Nashville to advance her blos­som­ing career back in 2004. Miss Amer­i­cana makes no attempt to address this priv­i­lege, though it’s not as if Swift makes her­self out to be a starv­ing artist. Instead, the film focus­es on mat­ters clos­est to Swift, issues which have shaped her per­cep­tion of the world in last few years, notably since her very pub­lic spat with Kanye West in 2016.

The biggest rev­e­la­tion is that Swift suf­fered from an eat­ing dis­or­der, and she speaks can­did­ly about her strug­gles with self-image, as well as her expe­ri­ence of sex­u­al assault which played out in pub­lic in a 2017 court case which she even­tu­al­ly won. The lat­ter of these expe­ri­ences spurred Swift to take a pub­lic polit­i­cal stance for the first time in her career after being encour­aged not to do so. But the only peo­ple who can afford to be apo­lit­i­cal are those with finan­cial secu­ri­ty, and Swift – while keen to point out her alle­giance to the LGBT+ com­mu­ni­ty and women’s rights move­ments – fails to recog­nise that it was only once she was direct­ly affect­ed that she decid­ed to take action.

Of course, Swift isn’t alone in this, and per­haps the great­est suc­cess of Miss Amer­i­cana is that it reveals Swift as a young woman in progress – earnest and eager to do bet­ter both per­son­al­ly and pro­fes­sion­al­ly. It’s glossy and con­ven­tion­al, flick­ing between past and present with a warm inti­ma­cy while still keep­ing the most inti­mate ele­ments of her life pri­vate. And, giv­en that it’s unlike­ly to con­vince any of the haters, per­haps it’s mere­ly intend­ed as a present to her legions of loy­al fans.

For those with lit­tle stock in the game, this film offers a fas­ci­nat­ing look at the ridicu­lous dou­ble stan­dards and extreme pres­sures put upon young women who grow up in the spot­light (with bonus footage of some very cute kit­tens). It’s not exact­ly rev­e­la­to­ry, but per­haps it doesn’t have to be – after all, Swift says she’s done pin­ning her per­son­al worth on the way oth­er peo­ple per­ceive her.

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