‘The Color Purple’ Review: In Its Fifth Major Iteration, The Classic Alice Walker Story Becomes A Movie Musical To Remember
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Alice Walker started the phenomenon with her Pulitzer-winning 1982 book, and three years later Steven Spielberg turned it into a movie that got 11 Oscar nominations. In 2005, it took on new life as a Broadway musical, and in 2015 that musical got a Tony- and Grammy-winning revival.
Along the way it made big film and stage stars out of Whoopi Goldberg, Oprah Winfrey, Cynthia Erivo, Danielle Brooks and Fantasia Barrino, the latter now making her feature starring debut as Celie in the new film version of the musical she led 18 years ago on Broadway. The Color Purple is indestructible, and that is also a good word to describe director Blitz Bazawule’s and screenwriter Marcus Gardley’s take that breathes exciting life into the story for new and older generations but also, to quote an original song from this film, really finds a way to “Keep It Movin’.”
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Musicals have gone through a tough time recently. Broadway hits such as Cats and Dear Evan Hansen fizzled onscreen. Perhaps that is why Warner Bros.’ three trailers for this Color Purple have de-emphasized the songs, only featuring one different tune in each of the trailers. The studio did the same for its just-released Wonka musical, and it had a very promising opening, even when audiences discover it is a full-blown Hollywood musical. My guess is on Christmas Day we will see the same upbeat result for Bazawule’s version because it happens to be simply dazzling, an irresistible, inspiring, spiritual and ultimately hopeful story that comes alive in vibrant ways.
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Didn’t think there was a need for another take on The Color Purple? Think again. Here it is alternately rousing, moving, toe tapping, emotional, rich and satisfying. It also helps to have a cast that not only knocks it out of the park but brings new heart to something we only thought we knew so well.
I had seen both the original 2005 and the 2015 revival on Broadway and was surprised to see how successful the show’s creators were in getting the essence of Walker’s book and the ’85 film into an entirely different form (Marsha Norman wrote the book and the songs were by Brenda Russell, the late Allee Willis and Stephen Bray — the latter serving as executive music producer here). The music has gotten a bit of a makeover for the film, even if many of the show’s songs survive. Bazawule, a multimedia artist whose work includes Beyonce’s visual album Black Is King, among many other music and film projects, has brought in pure authenticity by emphasizing the gospel, jazz, and blues roots of the original song score. That makes it all sound less Broadway and more in line with Black culture and music, for the most part, an effective boost to the material. Kris Bowers has provided an underscore that perfectly suits the action but respects the sound legions of fans of the live show will be expecting.
Where this film stands apart from earlier versions, though, is by getting on the inside of the main character, Celie (Barrino), a woman horribly abused by her husband, Mister (Colman Domingo), and separated from her sister Nettie and her children. Here the downer nature of all that is augmented and lifted by imagination, both hers and the filmmaker’s. Through magical realism, and some dazzling set pieces even Gene Kelly might be wowed by (the fine choreography is by Fatima Robinson), we get to visit Celie’s inner world, and that helps us to understand more than ever the spirit that willed her to survive all the cruelty around her.
Of course, there also is the sisterhood bonding she shares with Shug Avery (Taraji P. Henson) and Sofia (Danielle Brooks), who help Celie see past the indignities thrust upon her. This trio together makes up the heart and soul of The Color Purple, and the stars brought on to put them on film could not be better. Fantasia delivers one of those rare movie debuts that make you wonder what took so long after she blew up on American Idol all those years ago. Both she and Brooks (who played Sofia for a year in the Broadway revival) have shed the stage versions they played, only to reignite these characters in exciting ways for the screen. Brooks’ sassy and scene-stealing “Hell No” number stops the show, as does Henson’s sultry and sexy version of “Push the Button.”
Henson has sung before, most recently as Miss Hannigan in NBC’s Annie Live!, but man does she blow up this movie in ways that I didn’t expect. She is the unexpected secret weapon, a force of nature.
Another major change is that the male characters don’t just fade into the background. Colman’s Mister is indeed reprehensible in the horrendous ways he treats his wife, but the actor brings a three-dimensional portrait here of a man who had lost his way and takes it out on life itself. We actually have empathy for him in the end, and that kind of humanity on display is something that is heartening to see. Corey Hawkins is also terrific as Mister’s son, Harpo, and his relationship with Sofia, Mister’s stepdaughter, is given new meaning.
Props to a fine supporting cast who populate the film including recording stars H.E.R. as Harpo’s love interest, Squeak; Ciara as the grown Nettie; and Jon Batiste briefly in as Shug’s husband, Grady. Aunjanue Ellis-Taylor is fine as Mama to Phylicia Pearl Mpasi’s young Celie and Halle Bailey’s young Nettie (Bailey also co-wrote the aforementioned new tune, “Keep It Movin’ “). Deon Cole and David Alan Grier show up as does veteran Louis Gossett Jr., who has some choice moments as Ol’ Mister in a hilarious dinner scene that stands out later in the film. No spoilers on other casting surprises.
Dan Lausten’s vivid color cinematography gives us a vision of the early 20th century South rarely seen in films depicting the period, particularly Black lives. Paul Denham Austerberry’s production design and Francine Jamison-Tanchuck’s costumes add to the flavor.
Spielberg’s version still resonates, no question, but give him credit for turning over the keys to a director who brings a unique vision that makes this version stand on its own as an authentic and valuable addition to the Color Purple legacy.
Spielberg, Winfrey, Quincy Jones and Scott Sanders — who dreamed up the idea to do it as a musical on Broadway — are the producers.
Title: The Color Purple
Distributor: Warner Bros.
Release date: December 25, 2023
Director: Blitz Bazawule
Screenwriter: Marcus Gardley
Cast: Fantastia Barrino, Danielle Brooks, Taraji P. Henson, Colman Domingo, Corey Hawkins, Halle Bailey, H.E.R., Ciara, Aunjanue Ellis-Taylor, Louis Gossett Jr., Jon Batiste, Phylicia Pearl Mpasi, Deon Cole, David Alan Grier
Rating: PG-13
Running time: 2 hr, 20 min
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