Review: 'I Am Woman' an Affirming Biopic of Helen Reddy

While I'm surprised that a biopic of Helen Reddy was on anyone's radar as subject matter, I'm also surprised at how interesting and entertaining it is.

"I Am Woman" tells the true story of Helen Reddy, the Australian-born singer who became the "Queen of Pop" in the early '70s, gaining international superstardom with many Top 40 entries and a slew of Number One hit singles. She was the first entertainer to host her own variety show (before Sonny & Cher, y'all), and her iconic song "I Am Woman" has been the theme of the "second-wave feminism" movement for decades.

Starring the terrific Australian actress Tilda Cobham-Hervey as Reddy (vocals go to Chelsea Cullen), the film opens with her arrival in the U.S. (young daughter in tow) under the assumption she has been offered a recording contract. Alas, the record company now states they have too many female singers, and tells her to have fun while she's in New York City. Frustrated, she decides to stay (sans visa), and plays local bars to empty houses.

Soon enough, she meets legendary rock and roll critic Lilian Roxon (Danielle Macdonald, "Dumplin'") and music producer Jeff Wald (Evan Peters). She befriends Roxon and marries Wald, who promises her he will make her a star.

But this is the '70s, and men rule the world, so it's not until Reddy takes matters into her own hands (and forces Wald to actually do something) that she gets the chance at a career – and she kills it. (A B-side of one of her singles – a cover of the "Jesus Christ Superstar" ballad "I Don't Know How to Love Him" – hit the Top 10 of the Billboard charts.)

The song that meant the most to her, "I Am Woman," wasn't met with glee by the male executives ("it sounds angry"), so they buried it on the album. But as soon as she sang it to a full house of women who tuned in to the lyrics, she had a mega-hit on her hands and her career skyrocketed.

As her story unfolds, she deals with the usual trappings of fame (not enough time for the important people in her life; dealing with an emotionally abusive, drug-addicted husband), but pushes herself to constantly be a survivor. Sometimes she has to be reminded of what truly is important in her life, but she perseveres. And that is the strength of the film.

Cobham-Hervey is remarkable here, and captures Reddy's essence down to her awkward, loosey-goosey swagger on stage. She hits the highs and lows of Reddy's story with grace and ease, and despite not being familiar in the U.S. you can feel her star presence.

Peters is always good and plays Wald's manipulative, desperate dick of a husband to a T. And Macdonald, so good in everything she's done, brings heart to the story that is touching.

First-time feature director Unjoo Moon doesn't fill her handsome film with a lot of flash, but it's a good-looking, decade-authentic biopic that handles the trappings (and her actors) well. I'll be curious to see what she does next.

You might not think Helen Reddy had an interesting story, and younger folks might not even know who she is, but hers is a story worth telling and worth experiencing.

Helen Reddy – hear her roar, indeed.