Joey Magidson
There’s a version of The Color Purple that could have wound up completely in the shadow of the Steven Spielberg-helmed original. Likewise, there’s a version that would have paled in comparison to the Broadway musical. On the flip-side, there’s a version that could have superseded both, becoming the definitive adaptation of the Alice Walker novel. The version we get here? Well, it’s kind in between it all, at least for yours truly. It makes for an uneven and sometimes frustrating experience, but one that a big enough heart to cover up most of those issues. Even if I didn’t love the film, I did like it.
The Color Purple has highs and lows, to be sure, but more of the former than the latter. The acting, emotions, and passion for the material shine through, even as the slack pacing, lack of memorable songs, and occasionally meandering feel hold the movie back. Your mileage may vary, but for me, this flick has flaws, alongside things to admire, as well as things to love.
The plot here remains the same, as it’s a tale of resilience for one woman over the course of decades. Celie (Phylicia Pearl Mpasi in youth, Fantasia Barrino in adulthood) leads a hard life, really only able to rely on the bond she has with her sister Nettie (Halle Bailey). Abused by her father and giving birth to his children, it’s Nettie who’s her rock, at least until they’re all torn away. Sent to marry and live with the equally abusive Mister (Colman Domingo), Celie is initially all alone. As the years pass, folks are going to enter her life and bring her strength.
Bonding with sultry singer Shug Avery (Taraji P. Henson) as well as the wife of her stepson Harpo (Corey Hawkins), the vibrant Sofia (Danielle Brooks), Celie begins to stand up to Mister. As she grows older, memories of Nettie continue to exist in her mind, but a newfound stronger will does as well. Those of you who know the book, film, and show know where it all ends up, but this movie musical does manage to hit you with the feels in just as strong a way, despite the familiar territory being covered.
The cast is largely excellent, with Danielle Brooks best in show. Brooks is so lively and funny here, she’s easily the highlight. It’s the kind of show stopping supporting turn that a film like this always needs. Fantasia Barrino is good, but this take on the material has her feel even more passive for a long time, taking away some of the power in the performance. Colman Domingo, Corey Hawkins, and Taraji P. Henson are strong as well, making the ensemble consistently compelling to watch in action. In addition to Halle Bailey and Phylicia Pearl Mpasi, supporting players here include Ciara, H.E.R., Jon Batiste, Deon Cole, Aunjanue Ellis-Taylor, Louis Gossett Jr., David Alan Grier, and Elizabeth Marvel, among others.
Director Blitz Bazawule and writer Marcus Gardley are certainly respectful to the source material, even while blazing their own trail. Bazawule gets strong work from the cast, even if the staging of the musical numbers feels a bit bland. There’s also just a lack of forward momentum at times that makes an already long film feel even longer. On the other side of the coin, Bazawule and Gardley do end things on a very moving note, so even if you’re more of a holdout than I was, the final moments of The Color Purple may well win you over.
I think I’m going to be in the minority when it comes to The Color Purple, but don’t take that to mean that it’s not a good film, because it is. I just happen to think it’s only good, not great. Guess what? That’s fine. We can share in admiration of a movie, even while disagreeing about the extent to which the work draws our affection. Either way, this is a flick worth seeing, especially if you have fondness for any previous version of the story.
SCORE: ★★★
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