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This new adaptation of The Color Purple, a heartfelt movie-musical, aims to soften the impact of the original story by smoothing over its raw and complex elements. The focus is shifted more towards female unity and overcoming obstacles, potentially as a result of the initial creative changes made in the 1985 film version by Steven Spielberg. The success of the Broadway musical in 2005 has now become the basis for this latest adaptation.
The female leads in this production are an incredibly powerful trio, bringing an intense energy to the action with their captivating charm. Fantasia Barrino portrays Celie, a brave survivor of abuse (originally played by Whoopi Goldberg); Taraji P Henson plays the singing sensation Shug Avery (previously played by Margaret Avery in 1985); and Danielle Brooks shines in her portrayal of Sofia (a role that marked Oprah Winfrey’s film debut). The screenplay, written by Marcus Gardley, is brought to life by musician and filmmaker Blitz Bazawule. Drawing from both the novel and the Spielberg film, the production also incorporates Brenda Russell’s stirring musical numbers from the stage show, adding a consistent flow of exciting moments and choreographed spectacle. The juke-joint scenes are particularly provocative, and there are new elements added to the story that bring redemption to certain characters. The production is produced by Spielberg, Winfrey, and original composer Quincy Jones, with a well-executed cameo by Goldberg.
In the early 1900s in Georgia, a character named Celie in Barrino’s story is sexually assaulted by her father. As a result, she loses custody of her two children and is forced into marriage with a man known as “Mister” Johnson. Despite his charming facade, Mister is actually a damaged rogue, portrayed by Colman Domingo. Celie is shocked when Mister angrily sends her sister Nettie (played by Halle Bailey) away after she refuses his advances. Celie also endures constant humiliation from Mister’s infatuation with singer Shug Avery, who becomes his mistress. After a drunken breakdown, Shug moves in with them and forms a close bond with Celie, eventually developing a romantic relationship. Meanwhile, Mister’s son marries a strong-willed woman named Sofia, who also becomes friends with Celie but faces discrimination from racists. As the years pass, Celie’s struggle to survive and persevere becomes even more courageous.
The new version of the story removes a hurtful comment from Shug Avery to Celie, changing the tone of their initial encounter. This alteration also lessens the bitterness and animosity that eventually develops into their sexual relationship. While the revised version still depicts their love affair, it is portrayed in a more idealized manner with dreamlike sequences reminiscent of Hollywood musicals that convey physical passion. The bond between them becomes more subdued and evolves into a supportive sisterhood, while Shug’s struggles with substance abuse are downplayed. Additionally, Oprah Winfrey’s portrayal of Sofia is formidable, but actress Margaret Avery brings her own style to the role and shines as a dynamic presence on screen. However, the injustice and brutality that Sofia experiences at the hands of white racists is not as impactful in this version, diminishing the significance of this plot point.
The various storylines will come together in a surprising and coincidental way, with heartwarming reunions reminiscent of Shakespeare and beautiful beach settings inspired by Julie Dash. The film radiates with emotion and passion, particularly in the group musical numbers that flow effortlessly. However, it falls short in capturing the essence of solitude and repressed sadness in the individual scenes. In fact, the movie itself suppresses these feelings for the audience. Nonetheless, the powerful performances of Barrino, Henson, and Brooks as the triumphant trio cannot be denied.
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Source: theguardian.com
