You will not emerge from seeing this Sam Taylor-Johnson directed film without having something to say. Even if you hate Back to Black you probably won't forget it. It's fair to say that the power of the songs still stuns. Go for these at the very least. A sad tale as Amy Winehouse died so young in 2011 aged just 27. But who comes out worst in the film? Oh, overly intrusive press photographers for sure. Who comes out better than the narrative of the day when Amy was being hounded? ''Bad boy'' Blake Fielder-Civil who is played so well by Jack O'Connell particularly in The Good Mixer scenes, an actor who also was an incendiary presence as squaddie Gary Hook on the superb Yann Demange directed troubles drama, '71.

But even better than O'Connell as we see it is Marisa Abela as Amy - Abela made her name on raunchy BBC city drama Industry and also bravely but actually pretty effectively here on Back to Black used her own singing voice instead of lip-syncing to an array of Winehouse hits. Also convincing are Lesley Manville (Mrs Wells in Mike Leigh's Vera Drake) as Amy's nan Cynthia who Amy was so close to and Eddie Marsan who was so excellent as John Darwin in ITV drama The Thief, His Wife and The Canoe - and like Manville appeared in the cast of Vera Drake playing the character Reg - and who plays Mitch, Amy's dad, in a gruff but nuanced way that also captures his sentimental side.

Amy Winehouse (Marisa Abela) and Mitch Winehouse (Eddie Marsan) depicted on Frith St, Soho - street of dreams Photo: StudioCanal

It's funny and 100 per cent correct when Amy says that she does not see herself as a ''fucking Spice Girl'' - girlpower she says is Sarah Vaughan. When she and Cynthia listen to Tony Bennett singing 'Body and Soul' it's also a respite before the madness of fame and the ultimate swift descent. Cynthia whose beehive Amy advised the singer on went out with Ronnie Scott back in the day. Ronnie and a lot of beboppers of his generation revered Sassy above all. In recent years the Kurtster one K. Elling has paid tribute in a long list to Sarah Vaughan following in the wake of ManTran and many more including bang up to date Zara McFarlane - but let's not digress too much.

There are scenes filmed in Ronnie Scott's and when Mitch is in the Palm Tree pub in Mile End listening to some live jazz when he hears the news to his consternation that Amy has got married in Florida pulls away to take the call from his daughter talking to her outside the pub on his mobile phone. The long time Osidge domiciled Welsh pianist Geoff Eales is among the musicians credited in that brief scene.

Amy songs in the film from Frank are 'What Is It About Men,' 'Stronger Than Me,' 'I Heard Love is Blind,' 'Know You Now,' 'Fuck Me Pumps' and '(There Is) No Greater Love'. Back To Black songs are 'Back To Black,' 'Me & Mr Jones,' 'Love is a Losing Game,' 'Rehab,' 'Tears Dry on Their Own' and 'Valerie'. Jazz canon classics used in the soundtrack include Thelonious Monk's 'Straight, No Chaser,' Billie Holiday singing 'All of Me,' Tony Bennett singing 'Body & Soul' and Sarah Vaughan with Clifford Brown on 'Embraceable You'. The soundtrack is by Nick Cave and Warren Ellis and their 'Song for Amy' is very touching rolling over the end credits.

I haven't seen the Asif Kapadia 2015 Amy documentary but have watched the BBC documentary told from Amy's mother Janis' point of view entitled Reclaiming Amy that I thought was very worthwhile given that the press narrative up to that point rarely touched on her mother's thoughts - it was always more about Mitch. His role here is played down a little although he is significant at crucial points.

Clearly Amy loved her Blake - it's inconvenient for many fans of the singer to admit that especially if they only read about her contemporaneously in the tabloids of the day which were far more powerful then than they are today.

Back to Black does not allot blame to anyone - beyond the artifice of scene setting that all drama needs and there is of course a spin in this but that angle is an attempt at understanding everyone's point of view. Such lack of any sense of a preening, puritanical moralising self-entitlement is its strongest suit. If you want someone to blame, this isn't the film for you at all. Rated: 4 stars