When this film opened, I was a 17 year old fan of Diana Ross. I thought her fabulous and the film great. Funny how time can change perspective and viewpoint so completely. Shortly thereafter, a local newscast interviewed several musicians who had worked with Billie Holiday and were picketing the theatre where "Lady" had debuted. One said that the film was an insult to her memory, and her true life story was far more tragic than the film had suggested. More importantly, he said that Billie's music had suffered most in the attempt to film her life. He said that Miss Ross had failed to capture the essence of Billie's music, and that this film had reduced Miss Holiday's standing as the most important Jazz singer who'd ever lived to that of a mediocre pop vocalist. He implored everyone to check out the real Billie Holiday by purchasing some of her records. I had two immediate thoughts. One was, "Hmm, I thought the film was pretty good, but this guy seems to know what he's talking about". The other was, "Billie Holiday made records?" In fact, she made hundreds of records between 1935-59, but in over two hours of screen time, not one of them is even mentioned.<br /><br />Prompted by the musician's suggestion and curiosity, I bought some Billie Holiday records and gave them a listen. That was the start of a life-long love of Jazz, and a complete reassessment of all that I knew and loved about popular music. As for the film, let's start with an early flaw. The opening credits are built around Diana Ross, as Billie Holiday, being arrested and booked for narcotics. The first thing we see is "New York City  1936" in large letters across the screen; as such, the writers managed to commit a factual error within the first five seconds of the screenplay! Billie was first arrested in 1949, for which she spent one year in jail. In 1936, she was still playing small clubs in Harlem, and it is generally believed that she didn't touch heroin until the early 1940's. The film continues with so many factual mistakes that I could spend all the space allotted here just listing them, but what is most alarming to me today is the disproportionate importance that Louis McKay occupies in this piece of total fiction. McKay was Billie's second or possibly third husband. Her biographers agree that, had she lived, she most certainly would have divorced McKay and removed him from her life completely. He was an opportunist and a user, and was probably abusive. One of the ironies of her life is that, in a gross miscarriage of justice, McKay not only received the bulk of music royalties that went to her estate, he was allowed as "special consultant" to this film to nourish a portrait of himself that was overly flattering and historically ridiculous. His actual place in her life was merely as one in a long list of men who'd contributed to the misery that was her later life. In the autobiography for which the film was named, Billie describes her first encounter with McKay. She said she found him literally lying in the gutter, and rescued him from a prostitute who was attempting to pick his pocket. Their paths did not cross again until many years later, when he wormed his way back into her life, and took charge of her affairs when she was most vulnerable. In short, he was not the glamorous and gallant figure depicted in the film, nor was she chronically defenseless. Popular legend has it that Billie Holiday once single-handedly beat up two redneck sailors who dared to tangle with her in a Harlem speakeasy - hardly the sniffling crybaby who lay crumpled in a corner waiting for Louis to rescue her, as portrayed in this film.<br /><br />The film would have you believe that Billie started shooting heroin because she witnessed a lynching; one of the dramatic highpoints depicts Billie on the tour bus reflecting on the horrors of lynching while we hear snatches of her most famous song, Strange Fruit. For years after my first viewing of the movie I wondered why that song didn't have a bigger impact for me the first time I saw it. Now that I have acquired the DVD I know why  Billie's best song has been gutted. We hear the opening lines and the ending, but the middle verses have been eliminated. Gone is the most powerful imagery - "Black bodies swinging in the Southern breeze, strange fruit hanging from the poplar trees. Pastoral scene of the gallant South; the bulging eyes and the twisted mouththen the sudden smell of burning flesh"  these words are simply not there. No wonder I hardly noticed the song when I first saw the film.<br /><br />This picture was made only 13 years after Lady Day's death. How could everybody associated with this film have totally forgotten what she stood for? Billie Holiday literally changed the way popular songs are sung, and therefore influenced every singer that came after her. I do not make this statement lightly. Many music critics and students agree that, before Billie, popular singers approached songs the same way that classical and opera singers always had; they sang the notes exactly as written, with no deviation from the written melody, no improvisation and, consequently, with little emotion or emphasis on feeling. Billie changed all that  which is why Frank Sinatra (for one) readily admitted that he'd learned everything he knew about phrasing from listening to Billie's records. It is difficult in hindsight to appreciate Billie's impact on vocal style simply because she so totally changed the way songs are sung, and every singer who came after her, whether they realize it or not, has been influenced by her on some level. She made far too important a contribution to music to receive the careless historical rendering and empty dramatics proffered by this film.