Starring Fantasia Barrino, Taraji P. Henson, Danielle Brooks, and Colman Domingo
Directed by Blitz Bazawule
Music and Lyrics by various
Few female characters on stage or in literature go through a more traumatic transformation than the three women in our next review. Alice Walker's decades-spanning epic about an abused black woman who eventually takes control of her life won the Pulitzer Prize in 1983. Steven Spielberg directed the Oscar-winning non-musical film version in 1985, with Whoopi Goldberg and Oprah Winfrey in star-making roles as Ceile and Sofia. The Broadway musical debuted in 2005; it and a 2015 revival did so well, it began talk of returning the story to film. How well does the musical retelling of Miss Celie and her heartbreaking life come off? Let's begin with the young Celie (Phylicia Pearl Mpasi) and her sister Nettie (Halle Berry) singing a hand-clapping game in a tree and find out...
The Story: By the time she's playing with Nettie in the tree, Celie has already had one child by her brutal father Alfonso Harris (Deon Cole) and is pregnant with another. Alfonso gives both children away, then forces her to wed local farmer Albert "Mister" Johnson (Domingo). Nettie tries to follow after her father attacks her too, but Mister drives her off. The two sisters swear they'll write as often as they can.
In 1917, Alfonso's grown son Harpo (Corey Hawkins) marries no-nonsense Sofia (Brooks). He builds them a house in the swamp, but ends up turning it into a juke joint. Everyone is excited when singer Shug Avery (Henson) returns to town. She thrills Celie (Barrino), who falls hard for her. Sofia's not as happy with Harpo having taken a mistress, diminutive Mary "Squeak" Agnes (H.E.R), and ends up starting a fight with her on the night of Shrug's debut. Shug finds a letter from Nettie, who now lives with a missionary in Africa and is taking care of Celie's children. They find others Mister hid in the house.
Sofia runs into trouble during the start of the Great Depression when she gets into a fight over not wanting to work for the Mayor's wife (Elizabeth Marvel). She ends up in jail and is forced to work for her anyway. Meanwhile, Ceile has had enough of Mister abusing her and cheating on her. She finally calls him on it during Easter 1943 and leaves him with Shug and her husband Grady (Jon Batiste) to Memphis. After she inherits her late father's shop, she turns it into a store for women's pants and hires Sofia, Shug, and Mary Agnes to work there. Mister, now a worthless drunk with a failing farm, finally decides it's time to make amends with his wife by bringing her and her long-lost sister and children back together.
The Song and Dance: Henson, Barrino, and Harris dance off with the film as the central trio who fight, feud, take abuse, and ultimately triumph. Harris got an Oscar nomination as the spitfire who loses her vivacity after ending up in jail, but finds her spirit again when Celie stands up to Mister. Berry's nearly as good in the early goings as the stronger sister who doesn't put up with the abuse Celie does. Pitch-perfect period costumes and gorgeous cinematography with some great touches that aptly show how the ladies and their lives change with the times. I also love how well they manage to make the two different musical approaches - the characters singing in normal time and in their heads - work together. Fatima Robinson's choreography brings life to a vibrant all-black community in the many ensembles.
Favorite Number: We open with the girls' hand-clapping routine in the tree, "Huckleberry Pie." Everyone in town talks about the lord's "Mysterious Ways" as Celie looks forward to the birth of her second child. Celie dances with women doing wash in her mind as she admits that "She Be Mine," and her sister is all she has. Nettie and Celie admit that they have to "Keep It Movin'." Harpo's proud to be "Workin'" on his new home, even if his father just thinks it's noise.
Sofia says "Hell No!" when Harpo tries abusing her...and says it again when the Mayor's wife wants her to be a maid. The entire town is excited about the arrival of singer "Shug Avery," especially Mister. Celie isn't as thrilled about her being in her home at first. She explains her feelings on religion in "Dear God - Shug." Shug's big number at the juke joint is "Push De Button." Celie imagines them singing "What About Love?" in an art deco fantasy on top of Shug's gramophone, complete with dance and kiss.
"Miss Celie's Blues (Sister)" was written for the 1985 film; here, it's Shug's number for Celie on her birthday in Memphis. "Miss Celie's Pants" has all the ladies' feet tapping as they make the title garments and happily run their shop together. "I'm Here" says Celie triumphantly after she's able to turn down Mister when he tries to get back in her life. Shug finally returns to her father Reverend Avery (David Alan Grier) as they admit "Maybe God Is Tryin' To Tell You Something." We end with the title song as Celie is reunited with her entire family at a picnic and everyone rejoices that they're all together and happy at last.
Trivia: The Broadway show wasn't popular with critics in 2005, who found it lumbering and watered-down. It managed to be a huge hit anyway, running for over three years. A well-received off-West End limited run in 2013 led to it returning to Broadway in 2015. The revival was almost as big of a hit, this time with audiences and critics. It ran for two years and picked up a Best Revival Tony and Tonys for its Celie, Cynthia Erivo.
Danielle Brooks also played Sofia in the revival and was nominated for Best Supporting Actress. She got a Best Supporting Oscar nomination as well, the only Oscar nod the film received. Fantasia Barrio played Celie in the original 2005 production, having taken over from original Celie LaChanze.
Feature film debut of H.E.R.
What I Don't Like: All of the joyful, upbeat chorus numbers can't mask that this is one of the darkest recent musicals. Once again, if you're looking for something fluffy and light, this is not going to be your show. Like the book and original film, it's also very women-oriented. Men generally do not come off well here. Most of them are jerks, abusive, violent, ignorant, or some combination of the above. I have the feeling from some of the reviews online that a lot of people, particularly those who aren't fans of musicals to begin with, found those light jazz numbers to be out of place with the extremely downbeat drama.
The Big Finale: First of all, I'm going to admit this is my first encounter with this material. I have neither seen the 1985 movie, nor read the book. That said, I did enjoy it. The up-and-down tone is overcome by a terrific production and fabulous performances. See this on its own terms for the ladies and the great numbers.
Home Media: As a brand-new title, this is easily found in all formats.
No comments:
Post a Comment