In the novel “The Color Purple” by Alice Walker, we follow the life of Celie, a Black girl living in Georgia in the 1900s. She endures mistreatment from her father and husband, Mister.
There’s a surgical balance in how to depict Celie: someone deprived of love and compassion, but never passive, never weak. Unfortunately, the most recent big-screen musical remake, directed by Blitz Bazawule and written by Marcus Gardley, doesn’t live in the fullness of Celie’s life, notably Celie’s queerness.
Different methods have been utilized throughout the adaptations of Walker’s original text to express Celie’s inner thoughts. In the 1982 novel, Celie communicates with God through letter writing, adding depth to her experiences beyond the injustices she faces.
Steven Spielberg’s 1985 film incorporated voiceovers from both young and adult versions of Celie, portrayed by the powerful Whoopi Goldberg. In contrast, Bazawule eliminates the use of letters and instead uses surreal scenes to convey Celie’s inner thoughts. For example, we see Celie (portrayed by the delicate Fantasia Barrino) daydreaming while drawing a bath for Shug Avery (played by Taraji P Henson). In her imagination, Celie traces Shug’s soapy arm as they spin around on an imaginary turntable. Another sequence features the two characters dancing in flapper attire before sharing their first real kiss.
The additions offer a brief insight and serve as a necessary contrast to the harshness of the original material. However, the grandiose fantasies frequently mirror Celie’s feelings rather than shedding light on them. They overlook the intricacies of Celie’s character, which are expressed in Walker’s writing. The reluctance to delve into important moments of Celie’s life is most aggravatingly evident in her romantic involvement with Shug.
Bazawule has recognized Celie as a significant figure for the LGBTQ+ community and stated that the new film aims to embrace her sexual identity. However, it would be incorrect to claim that the new version revolves solely around queerness. The portrayal of Celie and Shug’s relationship, a key aspect in Walker’s original work, remains reserved and pure.
Bazawule’s version is a more obvious portrayal of romantic relationships between women compared to Spielberg’s (the 154-minute film only included one kiss between the two characters, without any indication of a lasting relationship). However, it lacks genuine affection between the two women.
Although Walker’s book depicts the depth of Celie and Shug’s connection, Bazawule does not portray a lasting romantic relationship between the two or address their eventual separation (as portrayed in the 2005 Broadway adaptation). In Walker’s writing, Celie’s relationship with Shug allows her to embrace her womanhood, learn to love herself, and recognize her independence and sexuality.
Celie realizes her capacity for sexual gratification with the guidance of Shug, even prior to their physical intimacy. Shug supports Celie in embracing her sexual identity, supervising as Celie observes her vagina in a mirror.
Celie continues to have Shug’s support as she deals with more challenges. Upon learning that Mister has been keeping her sister’s letters from her, Shug comforts Celie and encourages her to take control of her life by making and wearing pants.
Bazawule’s interpretation shows Celie’s choice to sell pants as a sudden change that occurs after she inherits money from her biological father. However, Walker’s original text is more specific: wearing and sewing the garment is a rebellious act in itself, influenced by Shug as a response to Mister’s oppressive behavior.
Instead of respecting Walker’s wishes, the film completely disregards the couple’s relationship and the betrayals that accompany it.
Shug’s decision to have a fling with a 19-year-old boy (also featured in the Broadway musical adaptation) is removed. The plot point served as a nod to the expansiveness of Shug’s own sexuality, but also Celie’s deep investment in their mutual domesticity.
Instead of glossing over it, Bazawule and Gardley make a conscious effort to portray the brutal abuse endured by Celie with great attention to detail. The physical abuse, such as the slaps she endures, is not sugarcoated. Even in one of the earliest scenes, where Celie imagines herself as a glamorous version of Shug, she is still being raped by Mister.
The maltreatment is, undoubtedly, a crucial aspect of Walker’s narrative. However, in this case, Celie’s degradation takes precedence over her connection with Shug and her overall recovery.
During a period where Black individuals who identify as queer are encountering heightened dangers and aggression, the decision to censor Celie’s queerness has a particularly harmful impact. The threat against Black queer and transgender individuals is growing and systematic, with the passing of numerous anti-LGBTQ+ laws and an increase in hate crimes targeting Black and queer groups across the country.
The newest interpretation of The Color Purple has the potential to showcase the power of queer relationships in promoting healing. It could also celebrate the Black sapphic community, particularly in cases where these relationships are viewed with skepticism and disapproval.
Unfortunately, that aspect of Celie’s life has been neglected. When Celie proudly proclaims her existence and beauty, her queerness should also be acknowledged.
Source: theguardian.com
