Film Critique: ‘The Color Purple’ – A Vibrant Musical Spectacle with an Outstanding Ensemble

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The film adaptation of “The Color Purple,” directed by Blitz Bazawule and based on the Tony-winning stage show, is brought vividly to life thanks to the dynamic performances of Fantasia Barrino, Taraji P. Henson, and Danielle Brooks.

Alice Walker’s 1982 Pulitzer Prize-winning novel, previously transformed into a 1985 film by Steven Spielberg, might not seem the obvious choice for a musical rendition. The novel’s grim narrative, delivered through letters from Celie to God, delves into themes of trauma, poverty, abuse, and rape, hardly subjects that naturally lend themselves to musical treatment.

Yet, Bazawule’s adaptation manages to transform Walker’s powerful story of adversity into a spectacular musical showcase, particularly highlighting the resilience and spirit of Black women. The story’s inherent tragedies only amplify the impact of its uplifting conclusion.

The film occasionally struggles to balance its varying tones, a challenge also faced by Spielberg’s version. Nonetheless, the emotional rewards and the compelling central performances more than compensate for these moments.

Barrino’s portrayal of Celie, which she first assumed on Broadway in 2007, is deeply moving. Her character endures a harrowing life with her abusive husband Mister, played by Colman Domingo. Domingo skillfully brings complexity to his vile character, revealing layers of hurt and eventual redemption. The film delves into the generational trauma within Mister’s family, with Louis Gossett Jr. portraying his cruel father, highlighting the perpetuation of abuse.

Celie’s life, marked by separation from her sister Nettie (Halle Bailey), begins to see glimmers of hope. Notably, Sofia’s character (Brooks), reprising her role from the 2015 stage revival, emerges as a beacon of female empowerment. Her powerful performance, especially in the song “Hell No!,” marks a pivotal moment in the narrative.

The film’s production design, led by Paul Denham Austerberry, shines, particularly in the juke joint scene, although some of the more fanciful sequences disrupt the film’s flow. The adaptation’s circuitous journey from novel to film to stage and back to film is occasionally evident.

Shug’s character (Henson), a charismatic singer, injects glamour and complexity into the story, particularly in her relationship with Celie. Henson’s performance, enhanced by Francine Jamison-Tanchuck’s stunning costumes, brings a fresh perspective to Celie and Shug’s romance, which was previously underplayed in Spielberg’s adaptation.

The film, teeming with cameos from stars like Ciara, Jon Batiste, H.E.R., and Aunjanue Ellis-Taylor, navigates various dramatic moments, culminating in Celie’s powerful journey towards freedom, highlighted by Barrino’s unforgettable rendition of “I’m Here.”

Bazawule, a multifaceted Ghanaian filmmaker and musician, showcases his skill in capturing musical performances, a talent evident in this production. The film, produced by the original film’s heavyweights Oprah Winfrey, Spielberg, and Quincy Jones, is anchored by the remarkable performances of Barrino, Brooks, and Henson. Together, they transform the film into a poignant and unforgettable musical experience.

Rated PG-13 for its mature themes, sexual content, violence, and language, “The Color Purple” runs for 140 minutes and earns three and a half stars out of four.

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More about The Color Purple review

• Alice Walker’s Pulitzer Prize-winning novel
• Broadway production of The Color Purple
• Fantasia Barrino’s Broadway career
• Colman Domingo’s filmography
• Danielle Brooks on stage and screen
• Taraji P. Henson’s acting achievements
• Blitz Bazawule’s directorial works
• Steven Spielberg’s 1985 film adaptation
• Historical context of early 20th century Georgia
• Themes in The Color Purple
• Reviews of musical adaptations