A welcomed addition to The Color Purple family.
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From director Blitz Bazawule comes the coming-of-age musical period drama, The Color Purple, starring a stellar ensemble consisting of Taraji P. Henson, Danielle Brooks, Colman Domingo, Corey Hawkins, H.E.R., Halle Bailey, Phylicia Pearl Mpasi, Deon Cole, with Fantasia Barrino in her film debut.
This is the first film based on the stage musical of the same name–which in turn is based on the 1982 novel of the same name by Alice Walker–and the second film adaptation of the novel, following the 1985 film directed by Steven Spielberg.
Despite there already being three media variations that share the same title, each has contributed different offerings in their respective mediums, with the latest musical film doing the same. Sure, they may share the same core, but there’s always something fresh and authentic with each adaptation that allows them to shine on their own.
The Color Purple tells the story of Celie (Mpasi and later Barrino), an African American woman living in the American South during the early 1900s. As teenagers, she and her younger sister Nettie (Bailey) live with their abusive father, Alfonso (Cole). He impregnates her twice and takes away both her children each time after birth.
Not long after, Celie gets sent away to marry Mister (Domingo), who mistreats her from the get-go. When Alfonso tries to molest Nettie, she moves into Mister's farmhouse until he exiles her when she rebuffs his advances. She promises to write Celie every day before leaving.
Years later, Celie is still married to Mister while his son Harpo takes a wife in the fiery and defiant Sofia (an outstanding Brooks). Celie is envious of the latter’s fierce spirit and advises Harpo to keep her in line by beating her. This causes Sofia to leave her husband and gift us the powerful anthem “Hell No”.
One day, jazz singer Shug Avery (an electric Henson) arrives in town. Being Mister’s not-so-secret mistress, she stays at his home and eventually befriends a curious Celie. Together, they discover that Nettie has been living in Africa and writing Celie all along.
Sofia on the other hand gets her world turned upside down when she gets involved in a physical fight, resulting in her arrest. This breaks her spirit and suddenly, she’s fierce no more. But just as Sofia is losing power, Celie is seemingly more emboldened.
During an Easter Sunday meal, Celie confronts Mister in front of his father and their family and leaves with Shug to Memphis. This inspires Sofia out of her stupor.
When Alphonso dies, it's revealed by his wife that he wasn't Celie or Nettie's biological father, and through their mother, both sisters own the grocery store and the home they were brought up in. Celie starts up a shop making pants with help from her friends. Eventually, she is reunited with Nettie (Ciara), along with her children Adam and Olivia.
It is truly inspiring (albeit gut-wrenching) to witness Celie suffer many a loss before triumphantly gaining her voice and place in the world. Her resilience is the embodiment of all good comes to those who wait. Barrino’s grounded performance as the meek and helpless Celie will make you feel for her easily. Be cautioned she will flood you with all the emotions with her impassioned rendition of “I’m Here”. (It was hard for this musical-lover to not fist-punch the air and sing along at the screen.)
That number is undoubtedly Barrino’s best in the film but she can’t be singled out as best vocalist, least not with an ensemble bursting with stunning voices all around. Notable mention is Henson who definitely wowed with her sultry Shug, chewing the scenery like the supposed maneater she is.
Then there’s the real standout, Brooks, whose no-nonsense Sofia is instantly loved the second she makes her appearance. Her fierceness was empowering and a much needed lift for this harrowing film, but the moment her light was dimmed, it felt like all hope was lost. The duality of her performance is no wonder she’s making the rounds this awards season.
The film spans decades–with many memorable events and musical numbers fit within its 141-minute runtime–it’s hard to pick a favourite scene but this must be said: that Easter Sunday supper scene might just be one of the best of the year thus far. There’s no greater satisfaction than seeing Celie finally standing up for herself and Sofia getting her groove back to them leaving the men at the table speechless.
The Color Purple is a beautiful display of talent telling a a hard story. It can be painful and emotionally-draining to sit through at times but boy, is the payoff worth every teardrop.
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