The Color Purple is a beautifully acted, sung, technically made film. The fullness and depth of these incredible characters are not given time to breathe in the handling of dramatic and musical moments. The film is a mixed bag, but it is an absolute joy to watch these wonderful performers use their talents to embody Walker’s legendary characters and the beauty shines through. 

The Color Purple has had several incarnations in the last forty years, as a Pulitzer Prize-winning novel, a dramatic film, a Broadway musical stage production, and now a musical film. The essence of the story centers on self-discovery, spirituality, and faith and is anchored by a stellar ensemble.

The novel by Alice Walker is a nuanced, dynamic, tender, and heart-wrenching story about Black women surviving the effects of racism and patriarchy in the early 1900s. The story centers on Celie who experiences decades of abuse at the hands of her stepfather and husband, after being separated from her younger sister Nettie, and the death of her mother. Still, she comes out on the other side with the discovery of her bodily autonomy and relationships with the women around her.

This new adaptation of Walker’s work is coming after two other beloved takes on the source material. The first is a cinematic classic that has been loved by audiences for decades and launched the careers of Whoopi Goldberg, Oprah Winfrey, and Danny Glover. The latter is a Tony and Grammy-winning production lauded by the theater community. The 2023 version at times matches, exceeds, and falls short in various aspects of the source material and other retellings.

The film soars and is at its best when showcasing the expectational acting and vocal performances of its cast. One of the highlights of the film is Fantasia Barrino as the main character, Celie. Barrino performed the role during the original 2007 Broadway run. That history is evident as her portrayal feels lived in and is a full-body performance. Barrino’s Celie is a quiet and observant character often taking in so much from those around her. Barrino does so much with the movement of her eyes and face to convey so much. Whether it be Celie realizing she has impacted those around her as Sofia thanks her for her kindness while being incarcerated, the mixed feeling of being given back her store after her stepfather’s death or seeing her sister after several decades. Barrino’s performance is particularly impressive considering her primary acting experience was on stage and this is her feature film debut. She knows how to reel in her performance instead of going bigger to play to a live audience. Barrino’s vocal prowess and control cannot be understated. Her performance of “I’m Here’’ is a beautiful highlight singling Celie’s freedom.

Danielle Brooks and Taraji P. Henson both give electrifying performances as Sofia and Shug Avery, respectively. Danielle Brooks is also reprising her role as Sofia, Celie’s stepdaughter-in-law, and friend, from the 2015 Broadway revival. She is the major comedic relief in the film with some hilarious moments while also balancing the devastating turn that Sofia’s journey takes after serving a prison sentence for an altercation with the white mayor of their town. Brooks’ vocal power is used beautifully in the melodic and catchy, “Hell No!” She balances the brilliant and prideful comedic moments of the character while also breathing life into the dismaying aftermath of her sentence and finding joy again.

Henson is a perfect match-up between character and actor. Henson’s Shug Avery, Mister’s mistress, and Celie’s confidant is charismatic, inviting, sensual, and wise all at once. Her performance of “Push the Button” is a vibrant musical number that for the first time puts her vocal talent on display and proves to the audience why Shug is such a big draw within the universe of the film. 

The younger versions of Celie and Nettie, Phylicia Pearl Mpasi and Halle Bailey, respectively make the most of their screen time in the first act. The two lay the groundwork for the sisterly bond between them that is so instrumental to Celie’s adult life. 

Colman Domingo molds Celie’s abusive husband Mister into a full human with reasoning behind his oppressive ways towards others. He paints a full picture of a young boy in the body of a grown man who never got to realize his dreams of musicianship. Corey Hawkins is a nice contrast in male energy in contrast to Domingo’s Mister. Hawkins’ Harpo is a calm, steady presence seemingly trying to surpass everything his father stands for, alongside a fiery chemistry with Brooks. 

While the performances are incredible from everyone, they often seem to do the heavy lifting as director Blitz Bazawule’s filmmaking seems to struggle with editing, pacing, and omitting the important queer themes from the source material. Many stage productions have had the uphill battle of expanding a contained stage production into an expansive cinematic experience. The film feels as if it’s on autopilot for the first two acts, giving audiences the highlights of the plot without the smaller and more intimate moments. The character’s introductions feel disjointed. 

The transitions between scenes often feel abrupt and end too early. Understandably, the film is trying to make room for both the plot and musical numbers. However, as engaging as the characters are, there is never time to truly sit with them because everything must move along. The third act of the film is beautifully paced. Allowing the audience to sit in Celie’s joy after leaving her abusive husband Mister and becoming a business owner. It just makes the first two acts seem more frustratingly rushed.

The cinematography is beautifully shot by Dan Laustsen. The hues of blues, yellows, and usage of trees make for striking imagery. Paul D. Austerberry’s production design gives a sense of time and place in everything from the ​​disarray of Mister’s house to Celie’s tailoring shop.

Additionally, the queer plot points and subject matter from the novel are watered down in the film. While Celie & Shug’s relationship is certainly acknowledged by a kiss and the ballad “What About Love.” The film does not return that aspect of their relationship at all afterwards. In the novel, it is explicitly clear that Celie and Shug Avery are in a romantic relationship and live together in the novel’s second half. Without the totality of Celie and Shug’s lesbian relationship, a critical part of Celie’s character development is missing. It is this relationship that begins Celie’s journey with not only consensual sexual experiences but also knowledge of her bodily autonomy, and tangible love. Shug sees Celie as worthy of love and desirable although she isn’t seen as such by societal standards. Walker makes it clear God, faith, and freedom go hand in hand with queerness. I wish a modern film understood that too.

The Color Purple is a beautifully acted, sung, technically made film. The fullness and depth of these incredible characters are not given time to breathe in the handling of dramatic and musical moments. The film is a mixed bag, but it is an absolute joy to watch these wonderful performers use their talents to embody Walker’s legendary characters and the beauty shines through. 

Grade: B+

Oscars Prospects:
Likely: Best Lead Actress (Fantasia Barrino), Best Supporting Actress (Danielle Brooks)
Should be Considered: Best Supporting Actress (Taraji P. Henson), Best Production Design, Best Cinematography

Where to Watch: In Theaters