The Color Purple (2023)

• Year: 2023
• Released: 25 Dec 2023
• Country: United States
• Adwords: 8 wins & 65 nominations
• IMDb: https://www.imdb.com/title/tt1200263/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/the_color_purple
• Metacritics:
• Available in: 720p, 1080p, 1080p
• Language: English
• MPA Rating: PG-13
• Genre: Drama, Musical
• Runtime: 141 min
• Writer: Marcus Gardley, Alice Walker, Marsha Norman
• Director: Blitz Bazawule
• Cast: Fantasia Barrino, Taraji P. Henson, Danielle Brooks
• Keywords: adultery, child abuse, based on novel or book, southern usa, faith, forgiveness,

	7.4/10
	86% – Critics
	95% – Audience

The Color Purple Photos

The Color Purple Torrents Download

The Color Purple Subtitles Download

The Color Purple Movie Reviews

strong musical reboot

Greetings again from the darkness. It all began with Alice Walker’s 1982 novel, for which she was awarded a Pulitzer Prize. Shortly thereafter, Steven Spielberg turned it into the movie event of 1985, with a memorable cast including Whoopi Goldberg, Danny Glover, and yes, Oprah Winfrey. The film received eleven Oscar nominations, yet was shut out in all categories. Jumping ahead 20 years (2005), Marsha Norman created a musical stage book that turned into a smash hit on Broadway, receiving eleven Tony nominations. It was 2015 when the musical revival hit the stage, re-establishing the story as part of the fabric of the entertainment world. Along the way, Ms. Walker’s book had been frequently banned and censored, and the adaptations were sure to pick and choose what to cover and how to do so. Here we are forty-one years after the book’s publication, and director Blitz Bazawule (Beyonce’s BLACK IS KING, 2020) delivers a moving and bold film version (screenplay by Marcus Gardley) based on the musicals, the novel, and the original film.

The film opens on the Georgia coast in 1909 by establishing the bond between young Celie (newcomer Phylicia Pearl Mpasi) and her sister Nettie (Halle Bailey, THE LITTLE MERMAID). When the two are forcefully separated, Celie loses the hope Nettie always provided, and soon she’s living a miserable existence as one abused by Mister (a powerful Colman Domingo, RUSTIN) who treats her poorly by regularly taking out his frustrations. Assuming the role she made her own on Broadway is Fantasia Barrino as adult Celie, whose presence and spirit contain the heart of the story.

Memorable characters and performances are everywhere we turn in this production. Danielle Brooks (“Orange is the New Black”) is a powerhouse as Sophia, a role she also owned on stage. Sophia is wife to Harpo (Corey Hawkins, STRAIGHT OUTTA COMPTON), one of the few men trying to break the tradition of abuse … not that he has much choice. Taraji B Henson is a jolt of energy as singer Shug Avery, one of the few women from this neck of the woods who gained independence and made a life (mostly) on her terms.

The supporting cast is filled with talent and surprises. David Allen Grier appears as Reverend Avery, Shug’s estranged dad. Aunjanue Ellis-Taylor (ORIGIN) appears in flashbacks as Celie’s Mama. Elizabeth Marvel (“Homeland”) is the unforgiving and racist wife of the Mayor, and one who has such an impact on Sophia’s life. Oscar winner Lou Gossett Jr (now 87 years old) shows us exactly how his son Mister turned out the way he did. As this is a musical, we would expect musicians to play a part, though it’s quite a treat to see H. E. R. As Squeak (Harpo’s girlfriend), Jon Batiste as Grady (Shug’s fashionable husband), and Ciara in a critical appearance as grown-up Nettie. There is also a well-placed cameo early on that harkens back to Spielberg’s movie.

Covering at least the decades of 1907 through 1945, we see how each character changes depending on their circumstances … especially Celie and Sophia, as well as an attempt at redemption by Mister. At least three ‘showstopper’ songs are included here. Taraji B Henson offers a rousing “Push da Button”, and Danielle Brooks is adamant about where she stands with “Hell No.” Fantasia Barrino’s “I’m Here” may be the highlight since it encapsulates her resilience and perseverance. The quality of the film is evident in all aspects: cinematography (Dan Laustsen), score (Kris Bowers), Production and Set Design (Oscar winner Paul D Austerberry, Larry Dias), and Costumes – especially Shug Avery’s – (Francine Jamison Tanchuk, Rashad Corey). Serving as Producers are Steven Spielberg, Oprah Winfrey, Quincy Jones, Alice Walker, and Scott Sanders, to name a few with long time ties to the story. It’s clearly a labor of love and passion for those involved, and ends with a tear-jerker reunion over Easter dinner. Not many follow the production trek of novel to film to musical to musical revival to musical film, and even fewer have ever done it this well.

Opens in theaters nationwide on Christmas Day.

“A” For Effort

This entire project felt like they just wanted to log in a musical version of Alice Walker’s book so that they can have it archived with the original 1985 version. It feels a bit hollow having had a little distance from it.

I think it may be the singing and dancing.

For those who don’t know, the story starts in 1909 and is of two sisters Celie (Phylicia Pearl Mpasi when young – Fantasia when older) and Nettie (Halle Bailey when young – Ciara when older) who are raised by a Father. They get separated when Dad offers up Celie to a man named Mister (Colman Domingo) a landowner, who inherited it. Mister is a horrific man. Slaps Celie around to take care of his kids (from other mothers). And sexually assaults her at night. This goes on for a few years. Celie eventually grows up and takes on the form of Fantasia. Years have took the life out her. Enter Shug Avery (Taraj P. Henson). A former mistress of Mister. The dynamics between her and Mister and Mister and Celie are clear. Shug is a singer who lives life to the fullest. And controls Mister through her sexuality. Shug and Celie become close friends. Taraji is having a great time in this role. She is flamboyant and excited to introduce the world to Celie.

The story is fairly straightforward from this point. Celie learns what individuality and freedom means. And discovers inner strength in the face of trauma.

All great messages.

The issue of the singing and dancing. Okay, the movie also is about rape and incest. Celie’s Father has been raping her repeatedly, which yields babies he gives away. This is soul crushing events that aren’t brushed away by a tune. Or good choreography. On a stage, I can see the value. On screen, it feels very uneasy. Also, the case of Mister. Who is also an assaulter of women. His atonement comes very late in the movie. I can see for the interest of time you couldn’t show the entire events of his ability to find Nettie and go through all the struggles to “make it up” to Celie. A little patched up for the interest of the story.

It’s not a dealbreaker since Domingo plays the role so well, you do believe his change of heart (though brought on by what he believes is a curse).

I am leaving out a lot of good stuff. Danielle Brooks as Sofia is bound to get an Oscar nom. As if Fantasia. Her evolution of Celie doesn’t necessarily feel the same as Whoopie’s version. Somehow, the 1985 version feels more…mature. This felt like a high school musical.

Still worth a look.

It was decent

It’s a decent new adaptation of The Color Purple with gorgeous production designs, solid direction and good performances from the cast members. Director Blitz Bazawule does a solid work on handling the tone and setting alongside with the production sets, costumes, and camerawork being really colorful and beautiful. The musical singing moments, while some of the musical tracks weren’t great, were solid with some pretty good lyrics and musical tones explored. Many of the performances were pretty good as there wasn’t a single poor performance.

Since I have read the book and seen the first adaptation from Steven Spielberg which I really liked, I felt the emotional core and writing isn’t as strong as it could be as there were some elements that felt thin and could have been explored a bit more. Since this is based on the broadway version, I haven’t seen the broadway version so that might explain the disconnection. There were some pacing issues and some of the dialogue moments were a little odd. Overall, it’s a decent adaptation but I prefer to watch Steven Spielberg’s version.