Displaying items by tag: Colman Domingo

SING SING

US, 2023, 107 minutes, Colour.

Coleman Domingo, Clarence Maclin, Sean San Jose, Paul Raci.

Directed by Greg Kwedar.

Sing Sing is one of the United States most well-known prisoners, in upstate New York, on the Hudson River. And it featured in early films, 20,000 years at Sing Sing with Spencer Tracy and Bette Davis in the 1930s and subsequent locations for various prison thrillers.

This is not that kind of film.

For some time at Sing Sing, there was a program RTA, Rehabilitation through the Arts. This Is what this film Is about, a focus on the prisoners themselves, their response to Theatre, the effect on them personally, for morale in the prison. It was based on an article of 2005 in Esq magazine, written by John Whitfield who is the central character of this film. (In 2005 there was a documentary, set in California, Shakespeare Behind Bars, with the same theme.)

Of course, there are some scenes in the yard, the sudden siren and prisoners having to prostrate themselves, some focus on the cells some harassment of guards ransacking belongings in cells… But, the perspective of this film is very positive.

The principal feature is the fact that most of the cast consists of actual prisoners from the past or the present, re-acting what they lived through with this theatre rehabilitation. On face value, literally, they don’t seem likely candidates for drama but tough, one with a tattooed face, mainly African-Americans, in fact. They enter into this film with great zest, the discussions, exploring their characters, discussing whether to put on comedy or drama, finally opting for comedy.

But, at the centre, is the character of Whitfield himself, wrongly convicted, long time in prison, turned down by parole boards, but writing creatively, plays for the prisoners, part of the steering committee for the theatre group, coaching, acting. And along with him is the director, who comes from outside, long time working with the prisoners, writing the plays, some powerful scenes where he trains them, directs them in movement, has some quietly closing their eyes, contemplating memories of a friend, encourage and to express what they have seen and felt.

There are two other prisoner characters, a great friend of Whitfield, following him around, full of enthusiasm and suggestions. His played by an actor, Sean San Jose. The other principal character is the former prisoner, Clarence Maclin, replaying his own experiences, drug dealing in the yard, any demands from the dealer, it interested in the theatre, initial clashes with Whitfield but forming a bond, the audience understanding the impact of the rehabilitation through watching him, his Hamlet soliloquy, the director urging him to intensity, his moods, his developing a relationship with Whitfield, support for him when Whitfield breaks after an interview with the parole board.

Colman Domingo has won many awards for his portrayal of Whitfield, many nominations including Golden Globe and Oscar. For this reviewer, the film could have been longer, more development of the prisoner characters in themselves, more scenes of rehearsals and performance. But, Domingo holds it together on the whole project is, of course, a most worthy cause.

1. Audience knowledge of Sing Sing, prison, history, eye security, guards and administration? This film’s focus on the group of prisoners, and the work of Rehabilitation through the Arts?
2. The views of the prison, outside, the Hudson, trains? Inside, the yards, the cells, rehearsal rooms, theatre? Musical score, final song?
3. Nominations for awards, Coleman Domingo’s performance, the professional members of the cast, most of the cast as former prisoners, prisoners, reliving their experiences?
4. The atmosphere of the prison, comparative freedom for the theatre group? Scenes in the cells, sharing, discussions, conditions? Harassment of the prisoners, sirens and falling to the ground in the yard, visiting the cells and wrapping them up…?
5. The film based on the reality of the Rehabilitation for the Arts, John Whitfield's article Esq, 2005? His story? Long years in prison, meetings with the Parole Board, the focal meeting, the documents, the accusations, the lack of evidence, the crime, his innocence, the phone call to his mother? His children? His career in writing, the players, the performances?
6. The introduction to the range of prisons, their appearance, characters, actual prisons and experience, the use of their audition videos in the film? Their interest in theatre, the discussions, the steering committee, discussion about drama or comedy, the interchanges, the initial visuals of their performance at the credits, the audience interest in what they could achieve?
7. The director, his working with the group, his personality, encouragement, they’re welcoming him? The discussion about the play, the comedy, the range of ideas, from Hamlet to Freddy Krueger, his going away, writing a text, bring it to them, their responses? The scenes of him training them, walking, shooting their eyes and imagining, communicating their images?
8. Clarence Maclin, in the yard, the drugs, the young man, the bad drugs, $500? His relationship with Whitfield? The nicknames of Divine? The gradual bonding, the discussions, the issue of Hamlet’s soliloquy? Macon and his attitudes, with the group, surly, gradually harmonising, succeeding, his encouragement to be intense with the soliloquy? The later scenes, the discussions with Whitfield, sitting with him, supporting him, helping Whitfield come out of himself? Final performances?
9. The character of Mike Mike, professional actor, sharing with Whitfield, their discussions, following him round, ideas, creativity, his loss with the group, their response?
10. Whitfield, his character, strengths, moments of depression, intervening, encouraging? The bond with Mike Mike? With Maclin? The impact of the board meeting? The documents, Maclin and his being able to leave?
11. The rehearsals, the costumes, performance, happiness, the absurdity of the play, the women coming in for their roles? The director? Whitfield and his interruption, disastrous, the reactions?
12. Whitfield persuaded to come back, the performance, the success – and the collage of sequences, especially drawing on those from the actual past?
13. Whitfield, quiet, reflecting, his leaving, meeting with Maclin, the exhilaration of freedom?

DRIVE-AWAY DOLLS

US, 2024, 84 minutes, Colour.

Margarette Qualey, Geraldine Viswanathan, Beanie Feldstein, Joey Slotnick, C.J.Wilson, Colman Domingo, Pedro Pascal, Bill Camp, Matt Damon.

Directed by Ethan Coen.

This is the first film made by Ethan Coen without his brother, all. Joel Coen had also worked by himself with his version of Macbeth, starring Denzel Washington and his wife, Frances McDormand.

The Coen Brothers have always made films which can be described as offbeat, comic, rye, ironic, with particular perceptions and observations on American society.

This film could be described as a caper, with violence, especially with its opening and a cameo by Pedro Pascal nervously in a diner, clutching a case, confronting the owner, pursued, decapitated and the case stolen. This certainly offers an ironic tone. And the setting is 1999.

The film then changes tone quite completely, sex and sexuality, lesbian sex, frank, explicit, descriptions, language, and this continuing throughout.

There are two central characters, Jamie, Margaret Qualley, vivacious, from Texas, exuberantly extrovert (but many criticising her broad Texas accent as unreal, over the top), in a relationship with a policewoman, Suki, Beanie Feldstein. We are also introduced to a rather prim Marian, Geraldine Viswanathan, working in her office, her co-worker flirting but she looking severe, correcting his vocabulary. She is later seen reading Henry James the Europeans throughout the film. Jamie and Suki breaking up, a point of contention a small dog who will reappear throughout the film.

Marian has decided to travel to Tallahassee and Jamie decides to travel with her, going to driveaway company with the manager, Bill Camp (and a joke about his name, Curly and their being forward in addressing him but this only having just met him), then thugs turn up for the car which is transporting the case seen at the beginning of the film as Well Is the head of the victim. So, caper, and pursuit. The two thugs, in their characters, in their interactions and behaviour, the moments of violence, one smooth talking and explaining his tactics, reminiscent of the two thugs in Fargo.

And their Chief is played by Colman Domingo, answering to a boss on the phone. On the way, the girls see a poster of a politician wanting re-election, Conservative, values-stances, and he is played by Matt Damon.

Jamie decides that Marian is too buttoned up, takes her to various lesbian sex clubs, encounters with a lesbian sports team, Jamie intruding with a partner into a hotel room, later Marian going for a lonely walk and accosted by the police, having to spend a night in jail.

The two thugs are tracking down the women, misled by the lesbian sports team to go to a remote African-American club, chatting to an old man, finding that have been taken in – and the thugs continuing with the squabbling.

When the girls’car breaks down, they find what is in the boot of the car – not only the head, but the mysterious case contains models of various replica dildoes (Jamie trying one out). Jamie also phoned Suki with some information but is not believed, but finally Suki deciding to come down to Tallahassee.

There are some flashbacks which explain Marian’s sexual orientation, watching a nude bathing neighbour, making a peep hole in the fence…

When the girls are abducted, tied up, interrogated by the Chief, there are some absurd: twists on the plot, one of the thugs going berserk and shooting his partner and the Chief, the girls escaping. They then decide to get $1 million from the political candidate whose replica they have. They confront Matt Damon, then he decides to attack them, masked, but Suki is on the spot, shootout.

Marian finishes reading the Europeans. They have made copies of the candidates dildo, and the desire to go to Massachusetts, this is 1999, where same-sex marriages are available. Happy ending.

Many audiences will turn up to see a Coen film. It may be put off by the initial violence and decapitation. Others might be put off by the lesbian sequences and their explicitness. So, the film is for the broadminded, perhaps a bit more broadmindedly than usual.

THE COLOR PURPLE

US, 2023, 141 minutes, Colour.

Fantasia Barrino, Taraji P.Henson, Danielle Brooks, Colman Domingo, Corey Hawkins, Felicia Pearl Mpasi, Halle Bailey, Ciara, H.E.R., Gabriellq Wilson, David Alan Grier, Deon Cole, Louis Gossett Jr, Aunjanue Ellis-Taylor.

Directed by Blitz Bazawule.

The Color Purple is a celebrated novel by Alice Walker, winning the Pulitzer Prize for Fiction in 1983, immediately popular, filmed to great effect by Stephen Spielberg in 1985, breakout performance by Whoopi Goldberg. In the 2000s it was developed as a musical.

This film is the musical version, produced by Steven Spielberg, Oprah Winfrey, Quincy Jones.

Many audiences appreciate favourite stories being developed as musicals. On the other hand, many find the songs, dance interludes, take away the impact of the drama. Which is the case here for different audiences.

The screenplay traces the key elements of the novel and the earlier film version. Action begins in the American south, Georgia coast,. 1909. As the drama proceeds, there are gaps of years, the audience appreciating that not so much has changed in the interim, the screenplay focusing on 1917, 1922, 1936, 1945 and culminating in 1947, a dramatic period of change in the US, two world wars and American involvement, technical developments. But, the focus here is on African Americans, their heritage, slavery, freedoms, prejudice. Yet, the bonding, survival and the creation of culture, music and dance.

And the focus is on Celie, initially pregnant by her father, his taking her child from her, her being purchased by the arrogant Mister, a drinking and violent man, some joy in her cousin, Nettie, who disappears from her life, a sad life of drudgery.

The Color Purple is a strong story of domestic violence, perpetrated by black men, harsh and cruel, presuming there domination over women. But, as the decades go by, the timid Celie reacts against her almost slave-life, is befriended by several women, encouraged, offered some opportunity to move outside her house and its routines, finding herself and her capacities, more and more transformed, with final opportunities to take charge of her life.

That is the drama. And into this drama are inserted a wide range of songs, dance routines, many with melancholy undertones, many with the discovery of exhilaration and hope, the lyrics illuminating the characters and their experiences, the music with echoes of the blues, jazz… And the singing cast have strong, fine voices.

The adult Celie is played by Fantasia Barrino, whose performance has to arrange from the downtrodden through struggle to self-confidence. Mister is played by Colman Domingo, a man to be loathed but, in the spirit of the film, to be redeemed.

There are two significant women who influence Celie. The first is Mister’s mistress, the singer, Shug Avery (a lively performance from Taraji P.Henson). The other is a large and boisterous woman, Sofia, Danielle Brooks, who commands the screen whenever she appears, and has the defiant song, “Hell, No!” Until, punished for her defiance, she becomes a shell of herself in prison. It is not surprising to find that Danielle Brooks is an Oscar nominee for Best Supporting Actress.

The aud ience is invited to identify with Celie as much as they can, sympathy for her initially, empathising with her as Mister dominates her, humiliates her, is physically cruel. But, then we are filled with hope with some of the friendships, some easing of her hard life. And, then joy in the opportunities she is offered, and a reunion with Nettie and the children, Mister having hidden all the letters that Nettie had written to Celie over the years. And, finally, some reward for patience and endurance. (And, yes, that is Whoopi Goldberg in a small cameo.)

For those who enjoy a musical versions, much to appreciate and enjoy. For those not so enthusiastic about musicals, there is sufficient drama over the decades, the journey of Celie, to hold attention.

1. Status of Alice Walker’s novel? Impact on American culture, awareness of African-American history? Steven Spielberg’s film version? The musical version?
2. This musical retaining the core story of the novel, the characters, their interactions, the timespan from 1909 to 1947, the Georgia setting, the coast, the black townships?
3. The insertion of the songs, the lyrics and their meanings, especially “Hell, no”? Celie’s songs, with Nettie? Shrug Avery’s songs and their flair? The influence of the blues, jazz? The staging of the songs, the supporting cast, the singers and dancers, choreography? Blend of realism and fantasy?
4. The focus on Celie, the opening, her friendship with Nettie, sitting in the tree, singing? Mister riding by on his horse, the guitar? Celie and her age, pregnant, the birth of the child, calling it Adam, pregnant by her father, his control, taking the baby and giving it away? The same with the next baby, Olivia? The effect on Celie?
5. Nettie, lively, songs, friendship, the hat in the store window, the approach of Mister, Nettie coming to live with Celie, his treatment of Nettie, violent, lifting her, her disappearance, the promise of letters? Her writing letters over the years, Mister not giving them to Celie?
6. Mister, brutal, smug, drinking, marrying Celie, the deal with her father, bringing her home, his children, her work, virtual slavery, cleaning, cooking, caring for the children? At Mister’s whims?
7. The events of 1909, the transition to 1917, the long years?

Harpo, growing up, his relationship with Sofia, her being pregnant, Mister and his reaction, the marriage? Brittle, Harpo and his fears? Sofia, big, lively, boisterous, her songs, control? The break with Harpo? Her teaming up with the other man, pregnant, the growing family, her visits? Friendship with Celie?

8. Shug Avery, her relationship with Paul, the Minister, his presence in the town, ceremonies, leadership, his songs? (And her final return, the reconciliation, singing together?) Her relationship with Mister, not marrying him, going off for her career, her singing, reputation, lifestyle, wealth? Mister and his continued infatuation and references to her?
9. Harpo, the money, building the club, his father’s reaction? Success, the decision to bring Shug Avery?
10. The transition to 1922, the years passing, the same for Celie and Mister? Harpo and his club? The clientele? Shug Avery and her arrival, flare? Her staying at the house, her friendship with Celie, continuing, her singing, the big production of her arrival, performance, song and dance?
11. Into the 1930s, Celie continuing on her downtrodden situation? Sofia, the incident with the mayor’s wife, offering her to be made, the confrontation with the mayor, his slapping her, her punching him, the attack on her, in prison, for six years, Celie visiting her every week, the meal, her depression? Her being released? A shell of her former self?
12. Harpo, the new woman in his life? Supporting him? If his being like his father?
13. Mister, the visit from his father, harsh attitudes, the treatment of women?
14. Shug, helping Celie, taking her away, Celie going, changes of attitude, urges to self-assertion, realising possibilities? Mister and his continued violence towards her, contempt? Going to town, going to the movies, and the imagination of the song and dance routine in the movie?
15. The 1940s, Mister by himself, in the fields, the plague, the burning of the fields?
16. Shug Avery marrying, their coming to visit Mister, the meal, Sofia and her husband present, Mister’s father? Celie and the defiance? Sofia laughing, coming alive again? Her gratitude to Celie for the visits?
17. Celie and Shug, affection, intimacy, the sexual encounter, the effect on Celie?
18. Charlotte and her seeing the postman, finding the letter from Nettie, searching the house, Celie reading the letters, unexpected joy?
19. After the war, the letters from Nettie, going to Africa, the children, caught by the war, getting the documentation, the irony of Mister giving the box of mementos to Celie, but also going to the authorities for Nettie and the children to come, the offer to sell some of his land to pay the expenses?
20. The happy reunion, Nettie, the children, grandchildren? The outdoor dinner, everybody present, joining hands, the song? Hope?
21. Celie’s journey to self-determination over the decades? Symbol of African Americans? African-American women? And a story of hope?

RUSTIN

US, 2023, 106 minutes, Colour.

Colman Domingo, Ami Ameen, Glynn Turman, Chris Rock, Gus Halper, Johnny Ramey, CCH Pounder, Michael Potts, Audra McDonald, Jeffrey Wright, Da’Vine Joy Randolph.

Directed by George C.Wolfe.

Rustin, Bayard Rustin, seems not to be a familiar name from American politics and history of the 20^th century. And, if this is the case for the US, for audiences beyond America, he is unknown.

Which is a pity. And this combination of drama and portrait is a strong step towards his rehabilitation in the public mind.

Bayard Rustin was born in the American South, Quaker background, cared for by a grandmother, discovering early in his life his homosexual orientation, an African-American. He became very much involved with Civil Rights movements, as early as the 1930s, even participating in 1941 in a March on Washington for these rights, working with activist A. Philip Randolph. He also travelled to India, strongly influenced by Gandhi and non-violence approaches, was interested in Communist movements, developing these themes during the 1950s, eventually linking up with Martin Luther King, a friendship, a break in friendship, but eventually a reconciliation.

All in the above is dramatised in some flashbacks, generally brief.

In fact, the action of this film is in the organisation of the 1963 March on Washington, and the revelation of Rustin’s role. Watching this film will make many realise that when the March is referred to, the visuals will be of the crowds, 250,000, gathered together in central Washington, and the famous speech by Martin Luther King, “free at last…”. Most of us have never given a second thought to the organisation of how the 250,000 came to Washington, the necessary amenities, the role of the police. We are conscious of the racist attitudes of the time not thinking of these attitudes in connection with the hard work of organisation.

Bayard Rustin, played expertly by Colman Domingo, under the direction of author, theatre director, film director, George C.Wolfe, was an enthusiastic and exuberant man. And he had an extraordinary attention to detail. We see his recruiting of a team of young enthusiasts, female, male, black, white, communicating with them, giving them tasks, supervising and checking. He goes to meetings, is supported by A.Philip Randolph (Glynn Turman), clashes for a time with the director of the NAACP, Roy Wilkins (surprisingly played by Chris Rock, grey-haired), discussions with Martin Luther King (Ami Ameen), challenged by Congressman Adam Clayton Powell (Jeffrey Wright). There are slurs on his communist background, racial slurs – and the exposure of a sex case to which Rustin pleaded guilty in the 1950s, especially Strom Thurman speaking under the privilege of Congress.)

And this is complicated, dramatically, by Rustin’s relationship with a married Minister from the South,

us (John Raymey), and a final challenge and decision when Elias inherits his father-in-law’s church and demands are made on him by his wife.

But, the culmination of the film is, of course, the March itself, the gradual arrival of the busloads of people, the role of the police and guards, the enthusiasm, the order, and a glimpse of Martin Luther King’s speech and the invitation by the Oval Office for the 10 key organisers to meet with the president – Rustin not included, but his being seen donning an apron and helping with the cleanup.

Rustin died in 1987 and received a tribute from Ronald Reagan. He was posthumously awarded the Medal of Freedom by Pres Obama. (And, can be noted, that this film was made by the film company set up by Barack and Michelle Obama.)

1. The title? Audience knowledge of Bayard Rustin? In the US? Beyond? History of the Civil Rights in Movement? The March on Washington?
2. The film as a portrait of Rustin? A picture of his organisational work, the March, Civil Rights? A personal portrait and narrative?
3. Audience response to issues of Civil Rights in the US, the background of slavery, the background of the Civil War, Lincoln and legislation, abolition, racism, racism in the south, 20^th century legislation being ignored, segregation? The background to this story?
4. Rustin in the 1950s and 1960s, the background of his upbringing, Quaker, grandmother, homosexuality, friendship with A Philip Randolph, the 1941 March, the 1942 episode of sitting in the front of the bus, ordered to the back, refusing, ousted, brutalised, the comment about the passenger telling her child not to touch the digger, and his saying that the child will grow up thinking that Blacks should sit at the back? The 1953 arrest in Pasadena, pleading guilty to a charge, the record?
5. Colman Domingo’s performance, vitality, exuberance, his principles, in himself, Civil Rights, causes, the friendship with Martin Luther King, the early scenes of the meetings, falling out with King, later meetings, reconciliation, the slurs about their relationship, congressmen Strong Thurman and public utterances?
6. The opening of the film, the introduction to a range of Civil Rights characters, A.Philip Randolph, Roy Wilkins and the NAACP, Meddler Evers (and his later assassination), discussions?
7. The role of Martin Luther King, his church, his capacity for speaking, family and relationship with Coretta (and Rustin’s visit and her singing)?
8. The idea for the March on Washington? Rustin’s enthusiasm? Wilkins opposition? The Kennedy stances? Police forces? Hostility? African-American enthusiasm?
9. The film detailing of the process, organising, logistics, planning, detail? Rustin and his capacity for detail, for enthusing others, the young recruits and their dedication, allotting their jobs, quizzing them, their success? His relationship with Tom, personal, Tom and his history, gay, leaving his family, relationship with Rustin, attitude towards Elias? The personalities of the other workers, young women, young men, seen in the office?
10. Rustin and the encounters with the police, his background in India, Gundy, nonviolence? Wanting the police not to be carrying arms? The agreement of the New York police? Collecting the weapons? Washington and the range of police, special forces?
11. The various meetings, the discussions with Ella Baker and her motivating Rustin, Dr Helen henchman and her presence, expertise, critique about women’s representation, supportive of Rustin? The tensions in the meetings, the issues, the presence of Martin Luther King?
12. The impact of Rustin’s organisation and the means available in the 1960s – and comparisons with the present in terms of mobile phones, computers, social media, instant information at hand…?
13. Personal aspects of Rustin’s behaviour, the encounter with the liars and his wife, the attraction, the affair, Elias working for the March, the personal episode with Rustin, love, the effect on Rustin? The issue becoming public, Elias inheriting the church, the phone call from his wife, the final meeting, Elias and his choice?
14. Rustin with the group, the media, Thurman and his denunciations, the presence of Adam Clayton Powell and his raising issues, Randolph stopping the meeting? The television revelations about Pasadena, Rustin fleeing, Martin Luther King publicly supporting him, his return?
15. The day of the March, the gradual arrival of the people, the logistics, the buses, people coming from everywhere, the facilities, the crowds filling the space? Martin Luther King’s speech, the highlighting of the section, “Free at last”?
16. The response of Pres Kennedy, his being seen on television promising legislation, the inviting of the top 10 (Rustin not included)? His donning the apron, helping with the cleanup?
17. The achievement of the March, subsequent legislation, Martin Luther King and Selma, his assassination?
18. Ronald Reagan honouring Rustin after his death? Barack Obama awarding in the Medal of Freedom?