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This new adaptation of The Color Purple, a heartfelt movie-musical, aims to soften the harshness of the original story by toning down its violent and tragic elements and focusing more on female solidarity and overcoming difficulties. This process of making the story more palatable began with Steven Spielberg’s film adaptation in 1985, followed by a successful Broadway musical in 2005, which now serves as the basis for this latest version.
This production features a trio of powerful, charismatic female leads who bring energy and intensity to the action. Fantasia Barrino portrays Celie, a brave survivor of abuse (originally played by Whoopi Goldberg), while Taraji P Henson takes on the role of Shug Avery, a singing star (previously played by Margaret Avery in 1985). Danielle Brooks delivers a standout performance as Sofia (a character who was originally portrayed by Oprah Winfrey in her film debut). The screenplay, written by Marcus Gardley, draws from both the novel and Spielberg’s film adaptation. Blitz Bazawule, a musician and filmmaker, directs the production, which also incorporates Brenda Russell’s powerful musical numbers from the stage show. These musical moments add a consistent energy and excitement to the drama. The production also includes steamy scenes in a dimly lit juke-joint, as well as new story elements and redemptive character arcs. The film is produced by Spielberg, Winfrey, and original composer Quincy Jones, and features a well-executed cameo by Goldberg.
At the start of the 1900s in Georgia, Celie, the main character in Barrino’s story, is sexually assaulted by her father. He takes her two children and unkindly arranges for her to marry “Mister” Johnson, a man who appears charming but is ultimately flawed, as portrayed by Colman Domingo. Celie is shocked when Mister angrily sends away her sister Nettie (played by Halle Bailey) after she refuses his unwanted advances. Celie also endures constant humiliation from her husband’s infatuation with singer Shug Avery, who becomes his mistress. After a breakdown fueled by alcohol, Avery moves in as a patient and forms a close friendship, and eventually more, with Celie. Meanwhile, Mister’s son marries the strong-willed Sofia, who also becomes Celie’s friend but faces discrimination from racists. As the years pass, Celie’s struggle to survive and persevere becomes more and more courageous.
This version of the story removes one hurtful comment from Shug Avery to Celie upon her arrival, altering the tone and dynamics of their future relationship. The revised version portrays their love affair in a more idealized manner, incorporating fantasy sequences reminiscent of Hollywood musicals to convey their physical intimacy. The romanticized portrayal also results in a more subdued and supportive sisterly bond between the two women, while Shug’s struggles with substance abuse are downplayed. The character of Sofia, portrayed by Winfrey, is still a formidable presence on screen, but her experiences with injustice and violence at the hands of white racists are less impactful in this version. Thus, the plot point loses some of its potency and becomes less significant.
The various storylines come together in a surprising and satisfying way, reminiscent of Shakespeare and incorporating elements from Julie Dash’s work. The film is filled with heart and passion, particularly in the group musical numbers which feel natural, but it falls short in the individual scenes and portraying feelings of isolation and hopelessness. The movie itself seems to suppress these emotions for the audience. However, the powerful performances by Barrino, Henson, and Brooks as the three victorious women cannot be denied.
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Source: theguardian.com
