Greetings again from the darkness. It all started with Alice Walker's 1982 novel, for which she received the Pulitzer Prize. Soon after, Steven Spielberg turned it into the event movie of 1985, with a memorable cast that included Whoopi Goldberg, Danny Glover and, yes, Oprah Winfrey. The film received eleven Oscar nominations, but was excluded in all categories.
Fast forward 20 years (2005), Marsha Norman created a book musical that became a huge hit on Broadway and received eleven Tony nominations. It was 2015 when the musical revival hit the stage, reestablishing the story as part of the fabric of the entertainment world. Along the way, Walker's book had been frequently banned and censored, and adaptations were sure to choose what to cover and how to do it. 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 movie.
Director: Blitz Bazawule
Writers: Marcus Gardley, Alice Walker, Marsha Norman
Stars: Fantasia Barrino, Taraji P. Henson, Danielle Brooks
The film begins on the Georgia coast in 1909 establishing the bond between young Celie (newcomer Phylicia Pearl Mpasi) and her sister Nettie (Halle Bailey, THE LITTLE MERMAID). When the two are forcibly separated, Celie loses the hope Nettie always gave her, and soon lives a miserable existence, abused by Mister (a powerful Colman Domingo, RUSTIN), who treats her poorly by regularly taking out his frustrations on her. Taking on 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 in this production. Danielle Brooks (“Orange is the New Black”) is a powerhouse as Sophia, a role she also owned on stage. Sophia is the wife of Harpo (Corey Hawkins, STRAIGHT OUTTA COMPTON), one of the few men trying to break the tradition of abuse...not that she has much of a choice. Taraji B Henson is a jolt of energy as singer Shug Avery, one of the few women in this area who gained independence and made a life (mostly) on her terms.
The supporting cast is full of talent and surprises. David Allen Grier appears as Reverend Avery, Shug's estranged father. Aunjanue Ellis-Taylor (ORIGIN) appears in flashbacks as Celie's mother. Elizabeth Marvel (“Homeland”) is the mayor's ruthless, racist wife, and someone who has a major 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 role, although it is a great pleasure to see H. E. R. as Squeak (Harpo's girlfriend), Jon Batiste as Grady (Shug's dashing husband) and Ciara in a critical appearance as adult. Nettie. There's also a well-placed cameo early on that harkens back to Spielberg's film.
Spanning at least the decades from 1907 to 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 spectacular songs are included here. Taraji B Henson delivers a soulful “Push da Button,” and Danielle Brooks is adamant about where she stands with “Hell No.” “I ’m Here” by Fantasia Barrino may be the highlight as it sums up her resilience and perseverance.
The quality of the film is evident in every aspect: photography (Dan Laustsen), music (Kris Bowers), production and set design (Oscar winner Paul D Austerberry, Larry Dias) and costumes – especially that of Shug Avery – (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-standing ties to the story. It's clearly a labor of love and passion for those involved, and it ends with a tearful reunion over Easter dinner. Not many follow the process of producing novel, film, musical, musical revival, and musical film, and even fewer have done it so well.
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