The Color Purple (B+ or 3.5/4 stars)
Fantasia Barrino, Taraji P. Henson & Danielle Brooks star in director Blitz Bazawule's 'The Color Purple' (based on Alice Walker’s 1982 novel, which won the 1983 Pulitzer Prize for Fiction; director Steven Spielberg's 1985 movie starring Whoopi Goldberg & Oprah Winfrey - which was nominated for 11 Academy Awards; and the 2005 Broadway musical which won the Tony for Best Revival of a Musical when it opened again in 2015). This superbly performed, handsome looking version draws on elements of its predecessors. The profound story, set along Georgia's coast in 1909 & spans some 40 yrs., revolves around the bitterly hard life & eventual triumph of Celie Harris (well-played as a teen by Phylicia Pearl Mpasi & as an adult by Fantasia Barrino).
As youths, Celie & her sister, Nettie (Halle Bailey) ... only have each other. The loss of their mother (Aunjanue Ellis-Taylor) weighs heavy on them in a home with a vitriolic, sexually abusive father (Deon Cole) -- a man who would impregnate young Celie, only to have her babies taken from her following birth for adoption. To this, Nettie has always been her older sister's protector; and a shining light in their dark lives. That light is then taken away when Celie is married-off to a beast of a man named Albert "Mister" Johnson (Colman Domingo). In his house, Celie is treated - not as a wife - but as a maid on a good day, and garbage on others. Luckily, Nettie is a fighter & manages to escape her father by reuniting with Celie. This is short-lived, however, as 'Mister' kicks Nettie out for refusing his lecherous advances.
Following many yrs. without contact, Celie comes to believe that Nettie is dead. During the long, lonely years, Celie eventually finds comfort in two other women; and strong ones, at that. First is the headstrong Sofia (Danielle Brooks), the feisty firecracker wife of Mister's son, Harpo (Corey Hawkins). The 2nd woman would be sultry & sensual blues singer, Shug Avery (Taraji P. Henson). When glamorous Shug she breezes to town, she brings men {like 'Mister' - they are lovers} to their knees & women in envious awe. Shug is wild at heart & brings back the carefree energy that the movie captures so well in Celie's early years with her sister, Nettie. Shug helps Celie realize her worth, her beauty, & becomes a conduit of her sexual awakening, as well; providing a protective force & a kind of love that she has never felt before. It is these two women in Celie's life who help her overcome her circumstances, leading to the powerful anthem, "I'm Here".
Returning to the role of Celie after having played her on Broadway, Fantasia is wonderful; transforming from the meek, soft-spoken, forlorn Celie - crippled by the weight of disappointment, emotional, & physical pain - to a woman with real agency, true grit, & exultant redemption. The swelling uplift of Fantasia's vulnerability-to-resilience arc makes you want to high five her by the end of the film. As Sofia, Tony Award-nominated Danielle Brooks is an absolute tour de force. She is hilarious, strong, self-possessed, and every time she blasted into a scene, I leaned forward in excitement to see what she would say & do next. Her "Hell, No!" music number is a barnburner and, despite unbearable hardships that befall her, she takes no guff from men.
As Shug, Taraji P. Henson tears through her music numbers with verve, a better singing voice than expected, the typical sass that we expect from her and, on an actual thespian level, I thought she really 'brought it' in smaller, nuanced moments with both Celie, and then with her father in a lovely church scene. The large & very talented supporting cast really brought it. Loved the 1st half hour with young Celie & Nettie; Phylicia Pearl Mpasi & Halle Bailey nail the portrayals. Corey Hawkins impressed me as Mister's son, Harpo; and boy, can he dance!? Never knew he had that in him. And Colman Domingo makes for a very one-note, but thoroughly despicable Mister. Everyone in the cast impresses; including a swath of surprising cameos.
As a spectacle, 'The Color Purple is both rich & imaginative in its production design, cinematography, costumes, lyricism; and the choreography & wow-worthy set pieces brought a big smile to my face, particularly when Celie's imagination comes into play {I recall a fantasy sequence involving Celie, Shug in a bathtub, a revolving vinyl record, & an enormous gramophone. There is such vigor in the music numbers - especially early on - that, despite the stagey vibe to it, was just so joyful. That said, the movie's music did present some challenges, for me. I didn't particularly love every song that came down the pike and, those I DID love sometimes disrupted the flow of the preceding & ensuing scenes; where the tone of one moment could change on a dime from buoyant uplift to heavy drama, or vice-versa.
So yes, the push-pull tension btwn. the heavy dramatic elements & the high octane song-&-dance numbers didn't always work in harmony, for me. But I digress. This account of 'The Color Purple' is a stirring motion picture musical boasting excellent performances & innovative craftsmanship that overrides some of the more bothersome issues I have with tone & storytelling. Watching this vibrant film felt like experiencing a spiritual event as it examines themes of love, lasting sisterhood, self-worth, overcoming adversities, and even forgiveness, to poignant effect. The tackling of the dark material, the raw emotions on display, the authenticity of the plentitude of characters, & the enduring power of its messages make this a movie well worth seeing.
As youths, Celie & her sister, Nettie (Halle Bailey) ... only have each other. The loss of their mother (Aunjanue Ellis-Taylor) weighs heavy on them in a home with a vitriolic, sexually abusive father (Deon Cole) -- a man who would impregnate young Celie, only to have her babies taken from her following birth for adoption. To this, Nettie has always been her older sister's protector; and a shining light in their dark lives. That light is then taken away when Celie is married-off to a beast of a man named Albert "Mister" Johnson (Colman Domingo). In his house, Celie is treated - not as a wife - but as a maid on a good day, and garbage on others. Luckily, Nettie is a fighter & manages to escape her father by reuniting with Celie. This is short-lived, however, as 'Mister' kicks Nettie out for refusing his lecherous advances.
Following many yrs. without contact, Celie comes to believe that Nettie is dead. During the long, lonely years, Celie eventually finds comfort in two other women; and strong ones, at that. First is the headstrong Sofia (Danielle Brooks), the feisty firecracker wife of Mister's son, Harpo (Corey Hawkins). The 2nd woman would be sultry & sensual blues singer, Shug Avery (Taraji P. Henson). When glamorous Shug she breezes to town, she brings men {like 'Mister' - they are lovers} to their knees & women in envious awe. Shug is wild at heart & brings back the carefree energy that the movie captures so well in Celie's early years with her sister, Nettie. Shug helps Celie realize her worth, her beauty, & becomes a conduit of her sexual awakening, as well; providing a protective force & a kind of love that she has never felt before. It is these two women in Celie's life who help her overcome her circumstances, leading to the powerful anthem, "I'm Here".
Returning to the role of Celie after having played her on Broadway, Fantasia is wonderful; transforming from the meek, soft-spoken, forlorn Celie - crippled by the weight of disappointment, emotional, & physical pain - to a woman with real agency, true grit, & exultant redemption. The swelling uplift of Fantasia's vulnerability-to-resilience arc makes you want to high five her by the end of the film. As Sofia, Tony Award-nominated Danielle Brooks is an absolute tour de force. She is hilarious, strong, self-possessed, and every time she blasted into a scene, I leaned forward in excitement to see what she would say & do next. Her "Hell, No!" music number is a barnburner and, despite unbearable hardships that befall her, she takes no guff from men.
As Shug, Taraji P. Henson tears through her music numbers with verve, a better singing voice than expected, the typical sass that we expect from her and, on an actual thespian level, I thought she really 'brought it' in smaller, nuanced moments with both Celie, and then with her father in a lovely church scene. The large & very talented supporting cast really brought it. Loved the 1st half hour with young Celie & Nettie; Phylicia Pearl Mpasi & Halle Bailey nail the portrayals. Corey Hawkins impressed me as Mister's son, Harpo; and boy, can he dance!? Never knew he had that in him. And Colman Domingo makes for a very one-note, but thoroughly despicable Mister. Everyone in the cast impresses; including a swath of surprising cameos.
As a spectacle, 'The Color Purple is both rich & imaginative in its production design, cinematography, costumes, lyricism; and the choreography & wow-worthy set pieces brought a big smile to my face, particularly when Celie's imagination comes into play {I recall a fantasy sequence involving Celie, Shug in a bathtub, a revolving vinyl record, & an enormous gramophone. There is such vigor in the music numbers - especially early on - that, despite the stagey vibe to it, was just so joyful. That said, the movie's music did present some challenges, for me. I didn't particularly love every song that came down the pike and, those I DID love sometimes disrupted the flow of the preceding & ensuing scenes; where the tone of one moment could change on a dime from buoyant uplift to heavy drama, or vice-versa.
So yes, the push-pull tension btwn. the heavy dramatic elements & the high octane song-&-dance numbers didn't always work in harmony, for me. But I digress. This account of 'The Color Purple' is a stirring motion picture musical boasting excellent performances & innovative craftsmanship that overrides some of the more bothersome issues I have with tone & storytelling. Watching this vibrant film felt like experiencing a spiritual event as it examines themes of love, lasting sisterhood, self-worth, overcoming adversities, and even forgiveness, to poignant effect. The tackling of the dark material, the raw emotions on display, the authenticity of the plentitude of characters, & the enduring power of its messages make this a movie well worth seeing.