From Jeff Nelson

The emotional impact of Alice Walker’s 1982 novel The Color Purple continues to echo through contemporary media. Steven Spielberg’s feature film adaptation brought exceptional performances to the silver screen, although perhaps he wasn’t the best filmmaker to bring that story to life. In the second movie adaptation, director Blitz Bazawule puts his own mark on it, introducing a musical element with some deviations from the stage musical version that came before it. 

Covering decades of her life, The Color Purple follows Celie (Fantasia Barrino), whose entire world is turned upside down when she’s separated from her sister, Nettie (Ciara), after she’s married off to an abusive man, who calls himself Mister (Colman Domingo). Celie develops close bonds of sisterhood over the course of her pursuit of freedom and independence from all those who seek to control her.

Mister is the catalyst for Celie’s misfortunes and trauma, although he represents a barbarous and oppressive system of patriarchy that allows his control to consume a woman’s life. She meets the free spirit that is Shug Avery (Taraji P. Henson) and the remarkably strong-willed Sofia (Danielle Brooks), both of whom experience their own life-altering circumstances with men. The powers that be seek to subdue Sofia’s powerful individualism and Shug’s liberty over her own life, which inadvertently shapes an unshakable, poignant bond between them.

Bazawule’s The Color Purple doesn’t offer any narrative surprises for those already familiar with the classic story. However, the musical numbers occasionally help break up the pacing, providing the film with an extra layer of energy, even if those levels aren’t all howling successes. “Hell No!” and “I’m Here” are the clear standouts, although there’s something to be said about whether this story truly calls for a musical touch to begin with. 

The biggest downfall of this adaptation comes in the form of Bazawule’s direction itself, particularly regarding the film’s most notable musical numbers. The most sentimental moments are largely limited by head-scratching decisions made behind the camera that shortchange the energy of the scene. Some character arcs don’t feel quite as fulfilling as they should here, especially when compared to the sentimentality of Spielberg’s non-musical iteration.

Nevertheless, the real power of The Color Purple comes from an astounding ensemble cast. There’s no question that seeing these characters on the silver screen once again frequently brings to mind the utter power and screen presence of Whoopi Goldberg, Oprah Winfrey, and Margaret Avery. Even so, Barrino is excellent as Celie, particularly when it comes to delivering vocals. Henson brings a sense of charisma and confidence to Shug’s screen presence. However, Brooks completely steals the show as Sofia, delivering an all-encompasing performance.

The Color Purple possesses different strengths and weaknesses from Spielberg’s adaptation, but the cast ensemble is an absolute powder keg that wrings every ounce of emotion they can muster out of this story of independence. The direction, staging, and writing hold it back, but it reaches the tear-jerking heights it aims for. 

Rating: 3/5

The Color Purple hits theaters on December 25th, 2023.

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