Il colore viola

It's certainly possible that the core story of The Colour Purple just doesn't do anything for me. Because I'm not a huge fan of Spielberg's movie either but at least I thought it was a consistent vision. It may have devolved into misery porn for me after a while but at least it was tonally consistent misery porn. That's not something I can say for this new movie because I can't remember the last time I felt this much tonal whiplash watching a film.

Because the choice to tell this story as a musical wasn't entirely successful for me. Because for as well produced and performed as these sequences are they are in constant clash with the overwhelmingly heinous actions taken against these characters. These women can go from experiencing physical, lawful and sexual abuse only for the filmmakers to jarringly cut to a highly choreographed, energetic musical sequence. It rarely feels smooth and it constantly makes the film feel as if it's at war with itself for what it wants to be.

Those sequences really are gorgeously produced and performed to their credit though as is the entire film. All though often to its detriment, there's energy through every single performance and shot in this film and I really appreciate that they didn't revert to the bare minimum of shot/reverse shot even for even simple dialogue scenes. But for as incredible as these performances are, character wise this script personally left a lot to be desired.

It makes sense that this main character is as passive as she is given the abuse she suffers but it took too long for her arc to come to fruition. Because the only time she ever takes any agency is through other characters. This might work for where she starts the film but it just robs the character of any real development. Supporting characters are constantly swooping in to make her important life choices for her, rather than having her actually receiving any growth of her own, by the time she finally starts making her own choices not only does it feel unearned but also far too late in the film to feel satisfying.

The resolution of her character arc might've been unearned but it pales in comparison to how these male abusers are treated. The husband characters played, admittedly very well, by Colman Domingo and Corey Hawkins are portrayed as abusive to quite honestly ridiculous levels. Domingo's character is basically just portrayed as evil with almost no nuance or depth and Hawkins is written as wholly ignorant in a way that could've made sense but the entire resolution to those characters totally fumbles their entire arcs. There are elements of generational trauma given but it's not explored nearly deeply enough to justify their actions.

The script makes them horrific abusers from almost their very introduction and in the third act the filmmakers have the gall to try and redeem them. Not only does it fall totally flat but I actually found it fairly insulting as a viewer. Forgiveness should have limits but at the very least it should make sense from a writing perspective. Nothing in the first two acts gives any sense that these characters deserve redemption, nor that any other character would forgive them, and it made a large part of the last third totally infuriating to watch.

The Colour Purple was a frustrating experience for me. I may not totally connect with this story but I had far too many issues from a writing perspective to give the film the benefit of the doubt. It is an extremely well produced version of a deeply flawed script. It's completely lacking in depth or nuance and it's totally eye rolling in how it depicts the trauma of it's characters. Musical's are totally capable of dealing with dark subject matters but it's all down to tone and it honestly felt like this script had no barring on how it wanted to portray this story.

Greetings again from the darkness. It all began with Alice Walker's 1982 novel, for which she was awarded a Pulitzer Prize. Shortly thereafter, Steven Spielberg turned it into the movie event of 1985, with a memorable cast including Whoopi Goldberg, Danny Glover, and yes, Oprah Winfrey. The film received eleven Oscar nominations, yet was shut out in all categories. Jumping ahead 20 years (2005), Marsha Norman created a musical stage book that turned into a smash hit on Broadway, receiving eleven Tony nominations. It was 2015 when the musical revival hit the stage, re-establishing the story as part of the fabric of the entertainment world. Along the way, Ms. Walker's book had been frequently banned and censored, and the adaptations were sure to pick and choose what to cover and how to do so. Here we are forty-one years after the book's publication, and director Blitz Bazawule (Beyonce's BLACK IS KING, 2020) delivers a moving and bold film version (screenplay by Marcus Gardley) based on the musicals, the novel, and the original film.

The film opens on the Georgia coast in 1909 by establishing the bond between young Celie (newcomer Phylicia Pearl Mpasi) and her sister Nettie (Halle Bailey, THE LITTLE MERMAID). When the two are forcefully separated, Celie loses the hope Nettie always provided, and soon she's living a miserable existence as one abused by Mister (a powerful Colman Domingo, RUSTIN) who treats her poorly by regularly taking out his frustrations. Assuming the role she made her own on Broadway is Fantasia Barrino as adult Celie, whose presence and spirit contain the heart of the story.

Memorable characters and performances are everywhere we turn in this production. Danielle Brooks ("Orange is the New Black") is a powerhouse as Sophia, a role she also owned on stage. Sophia is wife to Harpo (Corey Hawkins, STRAIGHT OUTTA COMPTON), one of the few men trying to break the tradition of abuse ... not that he has much choice. Taraji B Henson is a jolt of energy as singer Shug Avery, one of the few women from this neck of the woods who gained independence and made a life (mostly) on her terms.

The supporting cast is filled with talent and surprises. David Allen Grier appears as Reverend Avery, Shug's estranged dad. Aunjanue Ellis-Taylor (ORIGIN) appears in flashbacks as Celie's Mama. Elizabeth Marvel ("Homeland") is the unforgiving and racist wife of the Mayor, and one who has such an impact on Sophia's life. Oscar winner Lou Gossett Jr (now 87 years old) shows us exactly how his son Mister turned out the way he did. As this is a musical, we would expect musicians to play a part, though it's quite a treat to see H. E. R. As Squeak (Harpo's girlfriend), Jon Batiste as Grady (Shug's fashionable husband), and Ciara in a critical appearance as grown-up Nettie. There is also a well-placed cameo early on that harkens back to Spielberg's movie.

Covering at least the decades of 1907 through 1945, we see how each character changes depending on their circumstances ... especially Celie and Sophia, as well as an attempt at redemption by Mister. At least three 'showstopper' songs are included here. Taraji B Henson offers a rousing "Push da Button", and Danielle Brooks is adamant about where she stands with "Hell No." Fantasia Barrino's "I'm Here" may be the highlight since it encapsulates her resilience and perseverance. The quality of the film is evident in all aspects: cinematography (Dan Laustsen), score (Kris Bowers), Production and Set Design (Oscar winner Paul D Austerberry, Larry Dias), and Costumes - especially Shug Avery's - (Francine Jamison Tanchuk, Rashad Corey). Serving as Producers are Steven Spielberg, Oprah Winfrey, Quincy Jones, Alice Walker, and Scott Sanders, to name a few with long time ties to the story. It's clearly a labor of love and passion for those involved, and ends with a tear-jerker reunion over Easter dinner. Not many follow the production trek of novel to film to musical to musical revival to musical film, and even fewer have ever done it this well.

Opens in theaters nationwide on Christmas Day.

I'll start by saying that several performances were REALLY good, particularly Shug and Sophia (hello, Oscar?). But the movie felt flat. I know this is a different version (from the Broadway show) and definitely not a remake of the Steven Spielberg film. And while the music was good, I found it distracting, inserted into the story rather than advancing the story like a musical should. The characters felt undeveloped and ultimately unresolved. We saw some of the brutality of Mister but not his cruelty. We saw kindness of Celie but not her true goodness. And finally the choreography. It was good, if this had been on stage. In the movie, the action of the story stops so the action of the dancing can begin. So it called attention to itself instead of, again, advancing the story without our noticing.

It's not a bad movie. It's just not really good.

Danielle Brooks truly stole the show as Sofia in the film, shining like a star. Her talent and beauty are simply awe-inspiring. Whenever she graced the screen, a smile would automatically appear on my face, and I couldn't help but feel a slight blush. Her performance was filled with sensitivity and power, making her the perfect fit for the role. I have no doubt that she will have a long and illustrious career, deserving of celebration.

I couldn't have asked for a better way to start my Christmas morning than being immersed in the timeless charm of this classic film's stunning visuals and captivating sound. I'm absolutely thrilled to keep playing the soundtrack on repeat!

This is a musical adaptation of the stage musical based on the book. After the 1985 classic film, the hurdle gets to be quite high. It is also part of the recent trend of surprise musicals. They are not pushing the fact that these are musicals and the less informed audience members are getting surprised. This has great actors doing all the skills. It is technically great. It looks great. The performers are working at top notch level. It is very choreographed stage musical and that may be the problem.

I am still unsettled on this idea. The subject matter is so dark that the musical genre takes away some of the needed grittiness. It's not only a musical. It's the old timey choreographed energetic dancing type. It is showy Broadway and that overwhelms the dark complex story. Yet others do it well, but I would suggest that they always do it better on the live stage. There is an artificiality to the production when it's on the screen. It can't help but feel fake.