Simone’s dull skin shading and particularly African-American elements, pleased symbols of honor that were regularly tricky in the public eye, are unreasonably reproduced instead of practically cast. Her profession long activism for her kin is lessened to a couple of disposable lines; not even once do we feel how this battle influenced her. This is a film that not just doesn’t give us “Mississippi Goddam,” it can’t say the full name of the tune. The absence of the flammable “goddam” in dialog about the tune is a typical representation of how this film fixes and whitewashes its subject.
“Nina” accounts a precarious, more seasoned Simone, which implies that, notwithstanding colorizing Saldana, she’s likewise matured quite a long while. Nobody considered revamping the screenplay to concentrate on a Nina Simone nearer to Saldana’s genuine age. This is on the grounds that the film would need to get its hands filthy the thirty-something Nina Simone was profoundly settled in inside the Civil Rights Movement, singing furious melodies and unmistakably harshing a smooth that the movie producers don’t wish to irritate.