Based on the book 'The Color Purple' (published in 1982) by Pulitzer Prize-winning author Alice Walker, 'The Color Purple' was first adapted for screen in 1985 by Steven Spielberg.
This is the Broadway musical reimagined for the screen with some of the charms of the original, but not the most poignant. Director of the 2023 version, Blitz Bazawule has recreated the musical for screen with Marcus Gardley providing the screenplay.
It’s apparent from the opening moments of the film that this is a true-to-form reimagining of the Broadway version. Blitz makes this clear from the first ensemble song 'Mysterious Ways' with a wide shot (and one could argue cowboy from the angle) which immediately feels like the stage replicated on screen with us, the audience in the stalls looking up. It must be said that all the musical performance scenes are incredible in construction, performance, direction and all technical elements. This is no mean feat, although made a lot easier when you’re working with such incredible talent.
Fantasia Barrino plays Celie (originally played by Whoopi Goldberg). Taraji P Henson plays the singing blues star Shug Avery (Margaret Avery in 1985) and Oprah Winfrey’s debut feature film role Sofia, is played by Danielle Brooks. All three women deliver incredible performances that evoke not only dance-in-your-seat moments but also tears. The stand-out song 'I’m Here' sung by Fantasia was just beautiful and showcased her vocal and performance talents.
The book is considered a powerful cultural touchstone of modern American literature and tells the story of Celie through a series of letters to God. Celie’s life is somewhat brightened by two women. The first is Sofia, partner of stepson Harpo. She’s strong-willed, fiercely independent and the opposite of Celie. In short, she’s a powerhouse. Danielle Brooks had big shoes to fill, and she filled them and then some. It must be said that some of Sofia’s story was missed with the entire housemaid to a powerful white woman glossed over. This was a missed opportunity I felt.
The second woman to impact Celie’s life is Shug Avery, Mister’s mistress who arrives drunk and in need of care to ‘dry out’. Celie soon wins her over and you watch as a romantic relationship between them develops. This also appeared to be glossed over in favour of Hollywood innuendo. Another missed opportunity in my mind. Also notable was the exclusion of the famous line 'you sure is ugly' which has been removed entirely.
Overall, the theme of sisterhood rings true with the three women showing up for each other in their darkest moments; Celie when Shug needed to dry out, Celie for Sofia when she falls victim to racism and a prejudiced justice system and then finally Shug for Celie when she is finally able to leave Mister’s violent embrace.
The film is produced by Spielberg, Winfrey and original composer Quincy Jones and it’s interesting to note that Blitz has veered away from some of the iconic Spielberg moments. For me, this was a miss, rather than a hit. Two moments in particular stand out. The first is the reunion of disgraced daughter Shug Avery with her preacher father. In the 1985 version Spielberg directs a reunion of not just Shug and her father, but also the sinners and saved making use of call and response not only aurally but visually. Blitz delivers a quieter reunion which eliminates the celebratory element of the sinners and the saved coming together.
The second missed opportunity is at the end of the film and most notably a callback to the clapping game the sisters played as children. Instead of a quiet moment of reunion, we have instead a magical almost Shakespearean celebration under a tree that is possibly symbolic to the tree of life. Mister is given more weight than I would like in his role of bringing the sisters back together and ‘doing right’ by Celie.
If you love musicals and the original film then there is much here to love and I am sure you’ll enjoy it just as much as I did even minus those missed opportunities. This is a beautiful film with much to admire and enjoy.
★★★★☆
