'Amy would have hated this movie': KATIE HIND 明らかにする／漏らすs why Amy Winehouse's friends are ボイコット（する）ing the new biopic of her life - and what really happened to the husband who introduced her to ヘロイン
Blake Fielder-Civil's life today couldn't be in starker contrast to the one he enjoyed in the 中央の-2000s.
Then, as the paramour of singer Amy Winehouse, he 株d her £1 million Camden flat and an infamously hedonistic lifestyle in the 資本／首都.
A former 麻薬 （麻薬）常用者, Blake, after all, has 認める 存在 the one who introduced the 星／主役にする to ヘロイン and is 広範囲にわたって 非難するd for 誘発する／引き起こすing her 降下／家系 into the 麻薬 and alcohol 乱用 that 結局 saw her succumb to alcohol 毒（薬）ing in 2011, 老年の 27.
These days, the father of two lives hundreds of miles from London in a 静かな 郊外 of 物陰／風下d, in a modest three-bedroom 半分 bought by his fiancee Bay Wright for £217,000 in 2019.
Now 老年の 42, he says he has been clean for years, but he can いつかs be spotted swigging from a beer can as he makes his way to 会合，会う friends at a nearby social club.
As 隣人s have 観察するd: 'We know who he is. Things must be very different for him now.'
Amy Winehouse with husband Blake-Fielder Civil before her untimely death 老年の 27 in 2011
Indeed they must be. But while Blake might have lived in 親族 obscurity for the past １０年間, even after all these years one thing is 確かな : he is still dividing opinion.
Last week a biopic of Amy's 悲劇の life was 解放（する）d in the cinema, and Blake ― as played by handsome actor Jack O'Connell?― is centre 行う／開催する／段階. In many ways this is 理解できる: as Amy's only husband, he was always said to be the love of her life.
に引き続いて the film's 解放（する）, Blake?― who has spent time in 刑務所，拘置所 for 押し込み強盗 and 強襲，強姦?― went on Good Morning Britain to say how happy he was with his 描写.
He explained that he 設立する the film ― called 支援する To 黒人／ボイコット after the iconic 2006 album that catapulted Amy to 全世界の stardom?― 'almost 治療力のある in a way', and said that he believed some parts were 'a more 正確な 代表' of their 関係 than he was used to seeing.
'Not in a sense of 存在 let off the hook or whitewashed, as [has] been alluded to ... just in a sense of it wasn't all about 中毒,' he said.
While the movie, which 星／主役にするs Marisa Abela as Amy, shows him swaggering into the singer's life and 広範囲にわたる her off her feet in a London pub in 2005 with a lip-synced rendition of The Shangri-Las' Leader Of The Pack, 決定的な elements of their history are 行方不明の.
While Amy was insta ntly taken with the tattooed 生産／産物 assistant, in real life, soon after they met, she asked him if she could 株 his ヘロイン and he let her. But this is not featured in the film. Yet 麻薬s were a major feature of their 関係, with Amy herself once 説 their 'whole marriage was based on doing 麻薬s'.
In 2013, Blake 認める Amy had asked to try ヘロイン while he was smoking it, 説: 'I might have put up a weak 抵抗?― the fact is whatever I said, she did 結局最後にはーなる having some.
'Of course I 悔いる it, not just because of the 損失 it's 原因（となる）d Amy and the loss of life, but the 損失 to her family, but also to my family and also to me.'
にもかかわらず his 悔恨, given how ヘロイン 荒廃させるd her life, friends of the late 星／主役にする can't understand how Blake can now be portrayed as such a 'decent guy'.
As one put it: 'He comes across like a Disney prince.'
His 同情的な depiction is 特に perplexing given that even Amy's father Mitch ― despised by many of her friends?― hated him and （刑事）被告 Blake of 存在 'manipulative'. Yet Mitch has been 'ひどく 伴う／関わるd' with the making of the film, working と一緒に director Sam Taylor-Johnson.
'Mitch never liked Blake and 非難するd him for a lot of her problems, which is why it's so 半端物 they made him out to be this saint in the film,' says one of Amy's closest friends.
'It's all just very, very 半端物. They've 完全に re-written history with their 関係 and what Blake was really like.
Marisa Abela and Jack O'Connell 星／主役にする in 支援する To 黒人／ボイコット, which has been criticised for 'whitewashing' elements of Amy's life
'It was hard for Amy to move on after Blake. She spoke about him often and how much she still loved him, but then Reg Traviss （機の）カム along [Amy started dating the film director in the months before her death] and he made her really happy. Their 関係 was more stable than anything she ever had with Blake and much いっそう少なく "Sid and Nancy".'
Blake's life had been troubled 井戸／弁護士席 before he met Amy.
Blake, from Northamptonshire, dropped out of school at 17 and slept rough for a while. After moving to London, he worked as a music ビデオ 生産／産物 assistant and was also a part-time literature student.
He was in another 関係 when he met Amy, which ended within a month, and they became inseparable. She had 'Blake' tattooed on her chest and he got 'Amy' 署名／調印するd behind his ear.
Yet six months later he returned to his ex. The 分裂（する） was the inspiration for Amy's album 支援する To 黒人／ボイコット.
The couple later 再会させるd, and married in a secret 儀式 in Miami in 2007. However, their 関係 was tumultuous and also became violent?― though that, too, is not portrayed in the film.
There was the now-悪名高い photo: him with scratches on hi s neck; her in smeared 注目する，もくろむ make-up and 血まみれのd ballet pumps, which he has since said was taken after a 列／漕ぐ／騒動 in which he self-害（を与える）d.
In 2008, he was 刑務所，拘置所d for 強襲，強姦ing a pub landlord and they 分裂（する） again.
Blake, who went on to have two children with a woman he met in rehab, continued his on-off 関係 with Amy in 2010. But in 2011 he was 刑務所，拘置所d for 押し込み強盗 and 所有／入手 of an imitation firearm, and she died while he was still in 刑務所，拘置所. He was banned from the funeral by her family and later 怒り／怒るd them その上の by making a £1 million （人命などを）奪う，主張する on her 広い地所.
In a 最近の interview, Blake said he 悔いるs 'almost everything' he did during their 関係, 追加するing: 'I've carried that 重荷（を負わせる） myself for over ten years. I feel, to be honest, that I'm the only person within that story that's ever held any accountability, that's ever tried to say, "Yep, I made some 抱擁する mistakes".'
Certainly, it's not just Blake's 描写 that has 怒り／怒るd Amy's friends.
Their 圧倒的な 見解（をとる）, I'm told, is that she would have '絶対, 100 per cent hated this movie'.
They 告発する／非難する her father Mitch, who runs her 広い地所 and a 創立／基礎 in her 指名する to help young people 影響する／感情d by 麻薬 乱用, of not 許すing her to 残り／休憩（する） in peace. He was smiling for the cameras when he appeared on the red carpet at the film's 首相 と一緒に his ex-wife and Amy's mother Janis?― giving it a very public 調印（する） of 是認.
'She would have despised all of this,' one friend said.
Mitch, who 開始する，打ち上げるd his own singing career off the 支援する of his daughter's and 解放（する）d an album の直前に Amy died, is, にもかかわらず, portrayed in a '最高の 肯定的な light', によれば her friend.
'We were told that Mitch had been very 伴う／関わるd with people within the movie 商売／仕事 to make it happen,' says the friend. '非，不，無 of us were surprised when we discovered that the movie had shown him in such a good light.'
But they 追加するd: 'It was her friends who she was with, day in, day out.
'非，不，無 of us were approached [for background for the film]. They didn't want to hear any of the stories we had about Amy or the times we 株d with her.
'Not a 選び出す／独身 one of her friends have been asked. Amy was always playing her guitar, there was always music and laughter. Amy was so loving, she just loved love and was so fun and jovial to be around.
'It's not a true adaptation of her life. How could it be when they didn't bother to take the time to speak to all those who were with her day to day?
'For example, they say that Blake introduced Amy to The Shangri-Las but again that is not true. They were one of her favourite 禁止（する）d and she'd known about them for years. It's such a weird thing to （不足などを）補う in the movie.
The singer with Blake, whom she 離婚d in 2009 after a rocky, on-off 関係
'She was obsessed with romance, that's why she loved all those 1960s songs, doing things for your man, laying 負かす／撃墜する in the middle of the road to get his attention; she always had this fascination with those 肉親，親類d of songs.'
Those の近くに to Amy are also furious with the casting of Abela, 星／主役にする of the BBC 演劇 産業, because her 発言する／表明する is nowhere 近づく as good at the 星／主役にする's. One pal 述べるs her as a 'karaoke Amy', 追加するing: 'It's just awful.'
一方／合間, Mitch ― who is played by Eddie Marsan in the film?― にもかかわらず 存在 描写するd as 'father of the year' によれば one friend, has been hugely criticised for 許すing ghoulish scenes of her 麻薬 overdose to be filmed at her old flat in North London, which he owns.
テレビ視聴者s see Amy on a 担架 wearing an oxygen mask as she is put into an 救急車 by paramedics.
Instead of Blake or Mitch, Taylor-Johnson's wrath is 目的（とする）d at the paparazzi, who are portrayed as the villains for 存在 outside Amy's house so often.
However, in reality they would often give her 解除するs to Tesco so she could do her shopping, and in return she would 招待する them in for tea.
On more than one occasion, a paparazzo paid for her taxis as she didn't have any cash.
And the singer used to enjoy chatting to the pack of photographers about her time at the now 消滅した／死んだ showbiz news 機関 WENN, where she worked as an assistant as a 十代の少年少女.
Danny Hayward, who has run several of Britain's biggest news photography 機関s?― 含むing at the 高さ of Amy's fame?― was の中で those who 攻撃する，衝突する 支援する at the director's 描写 of the マスコミ.
He told the Mail: 'Nobody is 説 the マスコミ or photographers are perfect, of course they're not, but to make them the villain of this story is just plain wrong. It's a lazy old stereotype.
Blake appearing on Good Morning Britai n last week に引き続いて the 解放（する） of the new Amy Winehouse biopic 支援する To 黒人／ボイコット
'Amy was very famous, and a lot of the time she went out of her way to be photographed as she got more and more successful?― she understood that was a good way for her to 押し進める her music, and she loved it.
'Many of the photographers working around that time got to know her 本人自身で; they liked her and would 株 jokes and banter. This film ignores all of that.
'Of course it was newsworthy when [Blake] was 逮捕（する）d at her house, and sadly she became やめる troubled and, yes, there were lots of photographs 文書ing those moments, too, but nobody 手配中の，お尋ね者 to see her 苦しむ.
'Sam Taylor-Johnson is looking to find a scapegoat, and seems to have portrayed Blake as some sort of loveable rogue and pointed at the マスコミ instead. But it's 全く wrong, it's biased and it does a disservice to Amy's story.'
So it is perhaps no surprise, then, that many of Amy's friends have decided to ボイコット（する） the movie.
'It's 現実に やめる sad that the film is so bad,' says one. 'We will not be 支払う／賃金ing to go to the cinema to see it. We've got 絶対 no 利益／興味 at all because it's such a 捏造／製作 of what really went on. It all feels やめる raw to watch a film about one of your friends who is no longer here.
'She was such a 有望な light in all of our lives. They should have celebrated her like that.'
