Luther: Never Too Much

No list of the most recognisable, memorable and beloved singers of all time can be considered valid without the inclusion of Luther Vandross. So, it’s mildly surprising that it’s taken until now — almost 20 years after his passing — for there to be a definitive documentary about the life and legacy of the soul and R&B legend. Thankfully, veteran documentary filmmaker Dawn Porter is more than up to the task, carving out a celebratory space for us to revel in his timeless music while sensitively illuminating the man behind it.

Helpfully steered by first-person interviews with Vandross’ close friends and collaborators like Fonzi Thornton, Carlos Alomar and Robin Clark, we are first taken on a journey through how Luther learned his craft and refined his style. Cutting his teeth on the likes of Sesame Street — the archival footage Porter utilises here is sensational — coming up with catchy jingles for everything from Wrigley’s chewing gum to Miller beer and being a backing singer for the likes of David Bowie turned out to be a unique but ideal preparation for this solo career.

There is much to be emotionally stirred by.

When it comes time for Vandross to step into the spotlight, Never Too Much hits a joyous gear. Unleashing classics like ‘Ain’t No Stopping Us Now’, ‘Here and Now’, ‘Endless Love’, and — of course — ‘Never Too Much’, ample time is devoted to his artistry and attention to detail on everything from the clothes he and his collaborators wore on stage to getting each harmony juuuust right. The combination of rehearsal footage, concert excerpts and words from Vandross himself via old interviews is all elegantly meshed together by Porter and her editors Mark Fason and Jessica Congdon. And it’s further boosted by talking heads from Mariah Carey to Dionne Warwick (one of Vandross’ early influences) and Jamie Foxx, the last of whom is especially hilarious as he waxes lyrical on Luther’s gift for writing passionate love songs.

That someone who was such a devout romantic at heart was so lonely in his own life is one of several gut-punching threads that Porter delicately unpicks. Indeed, any fleeting worry that the doc, made with the approval of the Vandross estate, would be an overly sanitised, hagiographic piece quickly goes unfounded, as the film tackles the constant questions over Luther’s sexuality — he never confirmed nor denied his orientation — as well as his battles with his weight over the years. At times, he masks the queries with humour. But there are many more instances where we see the toll it takes, as show hosts choose to focus on things other than his immense talent. It’s heartbreaking.

Still, the overall mood remains joyful. Whether you’re a Vandross newbie or a megafan, there is much to be emotionally stirred by and even more to bop your head to. And that’s exactly how it should be.