Displaying items by tag: Colman Domingo

DISCLOSURE DAY

US, 2026, 145 minutes, Colour.

Emily Blunt, Josh O'Connor, Colin Firth, Eve Hewson, Colman Domingo, Wyatt Russell, Elizabeth Marvel.

Directed by Stephen Spielberg.

The title, Disclosure Day, has the touch of the apocalyptic about it. And, when the focus is on alien visitors to earth, will it be a genial close encounter or will it be a continuation of the war of the worlds. Even, a variation on ET? So, a reminder that for almost 50 years, Steven Spielberg has been fascinated with the alien encounters. (And, a lot of the promotion of the film raises the issue of whether Spielberg actually believes in aliens and their visits.)

Most audiences will enjoy this film, especially the Spielberg fans over the decades, not only his encounters movies but also his action shows and the heritage of Indiana Jones. And, the screenplay here dwells a lot on mental communication which may remind audiences of Minority Report.

And, we remember the visiting alien theories, Roswell 1947, conspiracy theories… Enough ingredients here to foster all of this and the question as to whether the world is able to accept the aliens.

The two central characters, a science mathematical cyber-whizz played by Josh O’Connor and weather television personality in Kansas City played by Emily Blunt, seem to have special powers, and, her being pursued by governmental but sinister powers, led by Colin Firth, forgetting all his charming roles of the past and his proving an intense sinister presence. On the other hand, Colman Domingo, more genial, is leading forces to save those pursued and belief that there should be a disclosure day to the world.

The two leads give very strong performances, often bewildered by what has happened to them, the intensity of Colin Firth’s ability to bilocate and interrogate and threaten, continually on the move and, Spielberg reminds us that he can direct action sequences as well as anyone else. There are plenty of chases, especially cars, but there is a sequence at a railway crossing, the passing train, a car pushed into the path of the train a leap on to carriage rungs… a highlight of the film.

So, while there is a great deal of action, there is also a great deal to think about, whether we the audience believe that there are aliens, that they have visited earth, whatever their intentions, or whether this is all imagined and that there is no evidence. (There are some Catholic themes in the film, especially with a sympathetic nun, who when Genesis 1 is quoted points out that God created us to be masters on earth – no reference to space are other planets!)

The film goes for 2 ½ hours so plenty of entertainment, strong characters, strong interactions, intensity and suspense, action, and, testing our response when Disclosure Day eventually happens.

1. Steven Spielberg, close encounters, ET, War of the Worlds, telepathy and Minority Report? Almost 50 years? Conspiracies about aliens, government cover-ups, Spielberg’s own beliefs? Audience belief in aliens, encounters, government deception? The impact if the world knew about aliens? The importance of Disclosure Day?
2. The plausibility of the situation, the state of the world, the brink of World War III? The government and the Department, Wardex, Daniel, the extraterrestrial device and its power, the files and films, his intentions, expose, contact with Hugo? Daniel and his background, science and maths, cyber skills, time in jail, release, no escape and Scanlon’s over him? His escape?
3. Daniel, personality, past experience with the aliens, his skills, on the run, contact with Hugo, Noah pursuing him, Noah and his squads?
4. The character of Jane, her time in the convent, flashbacks with the nuns, and about the monsignor and their lives, her leaving, her faith, relationship with Daniel, pressing him, for him to reveal what was happening? Her returning to the convent, the nun, protective, the discussions, Catholic rituals, the book of Genesis, humans as lord of the earth, emphasis on earth rather than planets in space? Scanlon, his hold over Jane, entering into her personality, her erratic behaviour with Daniel? Her going back to the convent?
5. Margaret, television personality, the weather, relationship with Jackson? Ambitions, at the studio, the personnel, uses, director, hosts, make up…? Situation at home, her uncertainties, the effect of the past experience and her blocking it out? At home, Jackson’s reactions, late, speeding in the car, held up by the police, her knowledge of the policeman’s life, at the station, the hurry, the strange sounds in her delivery?
6. Noah Scanlon, age and experience, government, the cover up, the personalities of his staff? Tracking Daniel and wanting him back, the files? Tracking Margaret? His skills, undergoing the treatment, able to bilocate, present to Jane, the interviews with her, appearing and disappearing, the threats? His presence to Daniel? Margaret and the effect on him, the reappearance of his wife?
7. Margaret, personality, travelling with Jackson, evading him, her travels, a sense of where she should go? Jackson not believing her? The encounter with Daniel, the house, the car, the crash into the house, their fleeing, pursued, the train episode, on the rails, the leap onto the carriage?
8. Margaret and Daniel, Noah and his tracking them down, Margaret and her abilities to know people from the inside, using it, the rescue by Hugo and the whistleblower team, going back to Kansas City, the television station, a preparation for Disclosure Day?
9. Hugo and his relationship with Scanlon, the past, Hugo wanting disclosure, Scanlon wanting cover, fear of mass hysteria with the disclosure? And the work of engineering with the aliens, the films of the aliens, bodies, skeletons – showing them to Jane and her reaction? The audience sharing this? Issues of the device, its power, Casper holding it in the reaction, its being covered, the three devices?
10. Daniel and Margaret, going back into their past, Margaret and her experiences, as a child, the red birds, the influence, the transformation by the aliens, absorbing their powers?
11. The buildup to the confrontation, the buses, the trucks, the personnel, chases, pursuits, diversions? Shutting down power? The device restoring power?
12. The studio, the fights, the defeat of Scanlon’s troops, their withdrawal, Scanlon remaining to be present for the disclosure?
13. Disclosure Day, the host on the radio, the explanations, the visuals, Daniel uploading all the films? The huge bank of screens, the communication with various networks, the buildup to the whole world tapping into the information, every language, nation, the TV executives and their decisions?
14. Scandal watching, Hugo vindicated, Daniel and Margaret – and the final revelation of the alien, the appearance, head and make-up, kindly, communication – and the possibility of harmony between humans and the aliens?

MICHAEL

US, 2026, 127 minutes, Colour.

Jafaar Jackson, Colman Domingo, Nia Long, Miles Teller, Juliano Valdi, Larenz Tate, Kendrick Sampson, Laura Harrier.

Directed by Antoine Faqua.

Michael is a cinema extravaganza, a celebration of the music and talent of Michael Jackson. It is for his fans, older, as well as up-and-coming. And it is also the story of an unusual man, his character, childlike in many ways, enthusiastic, but also growing into a man of steely intentions and ambitions. And he achieved them.

And, while there is a great deal of celebration of his music, his stage and screen presence, singing, dancing, his energetic feet, there is a great deal of the underlying family drama. Fans of Michael Jackson will know that his father, Joseph, a miner from Gary Indiana, was a dominating, even frightening presence in the household, intense ambitions for his sons to be successful in show business, the Jackson Five, with little Michael at the centre, the star. Colman Domingo is a frighteningly powerful presence as Joseph. Throughout the film there are highly dramatic moments, violent confrontations with his son, belting him, making demands, then, finally challenged by his son, life-defiance.

Which means then that this is basically a musical with an underlying family story. And, it ends in 1988, a peak of musical performance success, Michael a world star. Which raises the questions in many audience’s minds about the subsequent years of his life, his unlikely marriage to Lisa Marie Presley, the building of Neverland, his eccentric lifestyle, and, then, the accusations of sexual molestation. These are not a part of this film. There have been documentaries like, Leaving Neverland, probing Michael Jackson’s later years. They could be part of a further film about Michael.

But, what we have here, is the Jackson exuberance, and a strong star performance by Michael Jackson’s nephew, Jafaar (son of Jermaine), its lip-syncing to Michael Jackson singing, but displaying all the energy that marked his uncle’s singing and dancing. And the young actor, Juliano Valdi, playing little Michael, is a vital talent, singing and dancing, and the scenes with him and his bullying father. (Michael sister, Janet Jackson, chose not to be a participant in the film at all and her absence does seem strange.)

The supporting cast is strong, some veterans like Larenz Tate as Berry Gordy. Miles Teller plays Michael Jackson’s agent and promoter, John Branca, with glimpses into the racist attitudes at MTV and the CBS executive (a cameo from Mike Myers) pressurising a breakthrough. And there is Joseph Jackson approaching sports entrepreneur, Don King, to promote concerts. And some re-creations of the filming of Thriller.

By 1988, Michael Jackson, ambitious, had achieved his childhood hopes, his adult efforts, a key musical figure of the 20^th century. But, as we know, there was more to come.

1. Michael Jackson as a 20^th-century celebrity, in the US, around the world? This film as a tribute to his talent and celebrity? Singing, dancing, stage presence, television presence, as a child, growing up, as adult?
2. The involvement of the Jackson family in this production, Jafar Jackson as Michael’s nephew, impersonation of his uncle, dancing and feet movement, sinking the songs?
3. The inclusion of so many Jackson 5 songs, Michael Jackson’s own songs, the situation of songs inclusion in the film, rehearsal, performance, small clubs, concerts and tours, studios, the Farewell Concert, London…? And the filming of sequences from Thriller?
4. Comment about the omission of some characters, Janet Jackson, Michael Jackson’s personal life, marriage, children? And the personal issues in the court cases? The film stating that it continues and that being a different film and different issues?
5. The impact of Joseph Jackson, Colman Domingo’s presence and performance, his background, mining, his long-suffering and devoted wife, his ambitions for his sons, the Jackson 5, the opening sequences of rehearsal, his demands, especially on Michael, the eye line, the violence of the belting, the revelations about his character, intensity, exercise of power? And the impact, physically, mentally, emotionally on Michael?
6. The initial success, the gig, Michael and his presence, audience response? Michael growing up, the background of his brothers, their working together, the musical talent, the singing, supporting their brother?
7. Gary Indiana, the mining background, the moves to California, money coming in, the change of life, style, clothes…? Joseph and his becoming the manager and entrepreneur? Promoting the Five, the discussions with various producers, the significance of the discussion with Don King, King and his support, sporting background, promotions, Michael to be at the centre, and the veiled threat to Joseph about honesty?
8. Michael, as a child, reading, Peter Pan, the characters, his father as Captain Hook? The eternal boy, never growing up, living in Neverland? His reading in the car, a refuge? And pets, as he grew up, the snake, the discussions about the llama and spitting, actually getting a giraffe? In the grounds of the house? His childlike delight?
9. But his ambitions, to be a world star, wanting to be on his own, breaking the hold of his father, their various meetings and confrontations, even his father’s threat to belt him as an adult, his mother’s intervention?
10. His meeting with the executives, reputation of John Branca, his giving the right answers, the executives, Michael choosing him, and the scenes of their work together over the years? Branca’s achievement for Michael success?
11. The gangs, the style of dancing, Michael’s visit, gathering them together, explanations, the dancing style, his inventiveness? And the filming of Thriller, John Landis the director, Michael’s make up, the living dead, the dancing, focus on his feet? The visit to CBS, Branca and Michael making the demands, the executive offering him everything, the phone call to MTV the producer, the racist background of excluding African-American videos, the pressure, the consent, the record-breaking sales and views?
12. Joseph Jackson, his reaction to Michael, pride as well as his own pride hurt, the confrontations, Michael and his mother, the brothers?
13. The pressure to do the tour of the Jackson 5, the Don King backing, Michael agreeing, the performances, the scenes of the crowds, the venues, the excitement, the performances?
14. Michael, his determination, and to get away from his father, the buildup to the sequences of the Farewell Concert in LA, the success, the response, and the drama of Michael’s announcement that that was the end of the Jackson 5, his father, listening, the response, Michael defiant?
15. The London concerts, the British crowds and their response?
16. And the film ending there, the achievement of success, the musical phenomenon of the 20^th century, Michael’s future, and the reality of the behind-the-scenes, Neverland, marriage, children, abuse accusations, court cases, his death, and the documentaries about him?

WICKED FOR GOOD

US, 2025, 138 minutes, Colour.

Cynthia Erivo, Ariana Grande, Michelle Yeoh, Jeff Goldblum, Jonathan Bailey, Ethan Slater, Marisa Bode, Bowen Yang. Voice of Colman Domingo.

Directed by Jon M. Chu.

The highly anticipated second part of the popular spectacular musical film, Wicked. And, given the immediate box office results, the anticipation seems to have been completely satisfied.

Everyone knows the story of The Wizard of Oz. And, over 85 years, so many audiences have enjoyed the film version with Judy Garland. And there were other’s books about Oz by the author Frank L. Baum (and some film versions like Return to Oz). However, in the 1990s, the author, Gregory Maguire created an alternate interpretation of the Wicked Witch of the West and the good fairy, Glinda.

With enthusiasm, Stephen Schwartz (Godspell, Pippin and scores for several Disney movies) was creative in bringing Wicked to the stage where it has been performed widely for over 20 years. Which means then that there is an eager audience for this film version of the musical.

Most of the enthusiastic audiences who have made Wicked a box office bonanza, know the story, know the characters, have a point of view on them, know the songs, anticipate the choreography.

But, this reviewer did not have these advantages, not the book, not the musical, just a general anticipation of finding out something about the Wicked Witch of the West now called Elphaba. And, for this reviewer, the performance by Cynthia Erivo as Elphaba is most striking, always interesting, the background of her unexpected birth, her green colour, her powers, her place in her family, the attention given to her younger sister, taking her to the school of magic but impressing one of the teachers and being invited to stay. But, the visit with Belinda to the Wizard, the discovery of the machinations of Madame Morrible, her denunciation now means that she has been banished, the people of Oz turned against her, burning her effigy.

One of the disadvantages for the reviewer is knowing only about singer Ariana Grande rather than having seen her perform. It is a bit of a shock to see that she looks something of a rather slight presence, but fully determined, and in the performance of the first part of the film dramatising her supreme self-confidence, doubts not even possible, symbolised by the swish of her hair. By the second half she looks more substantial and she is accepted by everyone, accepting herself, and she is Galinda the Good (though not approved by Madame Morrible).

It is an understatement to say that the film is colourful, elaborate sets, action in motion, and Jonathan Bailey as Flyero, the dashing hero, with an effect on each of the young women, having to make hard choices in the second part.

There is a lot of talk of the Wizard himself, especially by the arch-Wizard teacher in the school, Madame Morrible (an imperious Michelle Yeoh). But,  we see the Wizard himself, played by Jeff Goldblum. And the question of whether he is just like the familiar Wizard in the original film or is he up to something else…?

So once again, there are songs, especially the duet of Galinda and Elphaba and the important theme of change for good, E;phaba and her love for Flyero and her hard choices, Galinda being challenged about authenticity, as good or as vain and just relying on the goodwill of the people of Oz.

With the release of the second part, already cinemas are offering the possibility for fans spending a day there for both films, five hours of Wicked entertainment.

1. Expectations after the first part? Fulfilled?
2. The popularity of Wicked in the theatre? For 20 years? The transition to the screen? The traditions of The Wizard of Oz, Return to Oz, The Wiz…? The opening tribute to The Wizard of Oz, to Frank L Baum, mansions, the glimpse of Dorothy and the Yellow Brick Road, the colourful fields surrounding of this?
3. The importance of the sets and decor, Oz? The activities, Oz and the Wizard? The forest, Elphaba’s secret cave, the tunnels, the town square?
4. The range of songs, popular, the lyrics, characters, themes, their insertion into the ongoing drama, illuminating the characters?
5. The situation at the opening, the animosity towards Elphaba, Galinda, good, the crown and sceptre, the bubble for travel? The response of the people and acclaim? The scenes of the happy crowds and their cheers? Songs and dances? At Madame Morrible in the background, her manipulation of Galinda, her role with the Wizard, disdain for Galinda, humiliating her? The exile of Elphaba, audience sympathy for her, the demonstrations against her, burning the effigy, her initial appearance, with the animals, loosening them?
6. The future of Oz, the role of Galinda, the mechanisms of Madame Morrible, the attitudes of the Wizard, in the background?
7. The arrival of Flyero, his charm, on display with Galinda, offering to marry her if that’s what you wanted? Yet his love for Elphaba? Going on the expedition, the military, searching for her, the pursuit through the forest, her escape on her broom, hiding in the tree? Her encounter with the animals, their escaping? Her deciding to stay?
8. Flyero and his encounter with Elphaba, love for her, deciding to stay, their love? The future?
9. Galinda and Elphaba, the past, the separation, the bond between them? Elphaba coming to the Castle, the discussions, the various moods, the song and change for good? Elphaba and her disappearance?
10. Galinda, her vanity, liking the acclaim, Flyero and his comments, her being hurt? The encounter with Elphaba, the song, the change for good? Yet the continued temptation for affirmation and flattery?
11. Madame Morrible, to track Elphaba, Galinda suggestion of using her sister? The background of Nessa, the relationship, her ruling as Governor, her courtier and his leaving, her reaction, dismissing him, his trying to escape, with the munchkins, his being transformed into the Tin Man?
12. Madame Morrible, the tornado and its devastation, Nessa and her death in the house? The references to Dorothy, the house and the whirlwind, arriving in Oz, the line, the Tin Man, Scarecrow, on the Road to Oz, the situation in the context of the conflict in Oz itself, the Wizard and Madame Morrible? The issue of the shoes and Elphaba wanting them back? The experiences of Dorothy?
13. After the tornado, Galinda and her disillusionment, the banishing of Madame Morrible, the confrontation with the Wizard, his exposure?
14. Galinda and the people and her future? Flyero and his experiences, defeat, disfigurement, his return, the meeting with Elphaba, the going out into the desert for the future? Galinda remaining in Oz?

THE RUNNING MAN

US, 2025, 134 minutes, Colour.

Glenn Powell, James Brolin, Colman Domingo, William H.Macy, Michael Cera, Emilia Jones, Lee Pace, James Frecheville, Sean Hayes.

Directed by Edgar Wright.

Stephen King, under his other name, Richard Bachmann, published the novel, The Running Man, in 1982. The film version was released in 1987, starring Arnold Schwarzenegger. This reviewer checked his review from 1987 and was surprised to find have the key elements from that period, political, media, violence, was so strong then. And, they are definitely to the fore in this version, almost 4 decades later.

It is hard to remember whether the television networks promoted such life-and-death hunts in those days – although, in 1988, the Truman Show was released, a more benign but nonetheless overarching intervention by television directors to control human stories. The other aspect of the novel and of the 1987 version was to refer to the hunts in terms of the Coliseum, gladiatorial combats, an avid audience relishing the possibilities for government sanctioned public deaths.

The bloodlust of audiences, rather sharpened by the variations on reality TV of the 21^st-century, is again to the fore. This time the target is Ben Richards, Glenn Powell reminding us that he is an attractive screen presence (emerging three years ago in Top Gun: Maverick, fighting tornadoes in Twisters, Romantic comedy in Anyone but You, and a charming Hit Man). Then his angry, fired for insubordination, desperate for finance for his sick daughter, auditioning to go into the Running Man Show, pursued by official and masked Hunters, getting bonuses for everyday of survival, million dollar reward if he survives 30 days.

A lot of action adventure, needless to say, risks, threats, narrow escapes, high-powered dangerous situations… And his eluding them all. Josh Brolin is severe as the network executive, controlling, dominant, until you are then further. And there is Colman Domingo as the television host, staring up the audience, showing clips of Ben and his survival as well as the pursuits.

Ben gets various amounts of help along the way, most eccentrically from a bizarre character played by Michael Sarah, pumping up the risks, magnifying the dangers.

At 2 ¼ hours, the film is very long, repetitive the pursuits and escapes, culminating in a perilous flight with a television soap Opera star as hostage.

On the one hand, action packed for the fans. On the other hand, a huge critique of this kind of gladiatorial reality show and its effect on its audience.

1. The title, the reality of Ben Richards being pursued, the television show, the network managers and controllers, the compere is, the Hunters, and the participation of the public, hounding the runner, helping him?
2. The perspective of Stephen King, his insights into this kind of world as early as the early 1980s, the film version of 1987, the development of this kind of media world and violence over the next four decades?
3. Action spectacular, the details of the chases, tensions, pressure, crowd watching in reality, in the studio, on the television screens, supporters, informers, the effect on Ben Richards?
4. Ben and his situation, his bosses, being fired, insubordination, anger, asking for money, his wife, his sick daughter? His motivation? The money and aid for the family? Going to the auditions, the range of tests, his helping the competitor falling? The team, the uniform, the other two members, the confident young man and his quickly being disposed of, the woman, at Las Vegas, defying the authorities, escaping, trapped and her death?
5. Dan Killian, manager of the network, his personality, seen on screen, his proposal to Ben, the money situation, his continued interventions, lucrative office, the bonuses? His ultimate intentions? The interventions, the Hunters, filming, the drones, the final plane ride and his control? The finale, the confrontation with the TV host, his defeat?
6. The TV host, the reality and the parody of the style of the host, taking sides, watching the sequences, staring up the audience, the progress of the hunt, the days passing? His ultimate stands, the confrontation with Dan Killian?
7. The various helpers along the way, the young man and his family, taking Ben into their home, his equipment, his pod cast, the information, driving the car? Morley, the past connections, the documentation, the authorities coming in killing him? Elton, eccentricity, his mother, the help, the challenges to the Hunters, the chases, the traps, tunnels? The vehicles on the escape, the crashes and pursuits?
8. Ben and the hotel, changing his identity, the cards, hair, moustache, disguises a priest? On the building, the pursuit, the sign, hanging, falling and crashing? The ultimate explosion?
9. The public, tracking him down, giving information, cheering him on?
10. The television show, the Americanos, Emilia, in the car, her believing the propaganda, then persuading her of the truth, the pursuit, the roadblocks, Ben being shrewd with Dan Killian’s intentions, his being led through, the plane, the pilots as Hunters, the unmasking of the previous competitor, the fights, the plane, potential crash? Emilia, helping, outside the plane, the parachute?
11. Ben, the images of his wife and child, the flashbacks, motivating him? Ultimate success?
12. A commercial and money world, Killian and his wanting Ben to have his own program, to be the TV Hunter?
13. The film offering a commentary on the contemporary world of power, the wielding of power, the media, the role of the individual, motivations, money, integrity?

THE ELECTRIC STATE

US, 2025, 125 minutes, Colour.

Chris Pratt, Millie Bobby Brown, Woody Norman, Jason Alexander, Giancarlo Esposito, Ann Russo, Greg Cromer, Stanley Tucci, Holly Hunter, voices of: Woody Harrelson, Ke Huy Quan, Alan Tudyk, Anthony Mackie, Jenny Slate, Brian Cox, Hank Azariah, Colman Domingo, Kurt Loder.

Directed by Anthony Russo, Joe Russo.

There were high expectations for this big-budget action fantasy adventure, set in an alternate world in the 1990s. It was directed by the Russo Brothers who had moved from smaller popular films to three Captain America superhero epics and then to two Avengers adventures, Avengers Endgame registering the highest box office.

Then came this ambitious fantasy adventure, based on the graphic images by Simon Stalenhag, adapted by the Russo Bros regular writers for the Marvel Universe films. And a very strong cast of character actors led by Chris Pratt and Millie Bobby Brown and including Stanley Tucci, Woody Harrelson, Holly Hunter, Anthony Mackie, Brian Cox, Colman Domingo…

However, reviews were unfavourable and the film was not popular. However, there is much to appeal to audiences who like imaginative, futuristic fantasy adventures.

1. The status of the film, the budget, the cast, the directors? Based on an illustrated novel? Pull critical response?
2. The 1990s, the title, an alternate world history, humans versus robots? The title?
3. The American cities, the war, the deserts and outposts? The musical score?
4. Ethan Skate as hero and villain, his technology an empire, the robots, taking over the consciousness of human minds, the reaction of the humans, many living and vegetative life, rising up against the robots, the human victory, robots to the Exclusion Zone?
5. 1994, Michelle, history of the crash and her parents, in foster homes, Ted and his lazy life, Michelle at school, not using AI technology for her work?
6. Cosmo, the sense in robot, the TV character, Michelle’s brother, Christopher and his delight with Cosmo? Cosmo programmed with gestures, sounds, controlled by Christopher’s consciousness?
7. The sense of mission, the encounter with Keats, his history, his character, offhand, soldier? The visit to Dr Amherst and his declaration the Christopher was dead?
8. The adventure, the journey, the trek through the desert, Keats and is exploitations? The Exclusion Zone, home of the robot, Mr Peanut? Characters and voices?
9. The confrontation with Skate, his character, presumptions, using Christopher and his mind and consciousness, the impact for humans, robots?
10. The pursuit of Christopher, Col Bradbury, the deadly mission, candle Bradbury and is disillusioned with Skate, changing his attitude?
11. Michelle, PC at the robots, the confrontation with skate’s Army? The role of Bradbury?
12. Christopher, the explanation, his wanting to be disconnected, Michelle disconnecting? The further attacks, the attack on Herman, the smaller version?
13. The aftermath, Christopher dying, Skate and his loss of control, arrest? Michelle and her explanation of what it happened? And the possibility of humans and robots and the Exclusion Zone in the future?

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?