Greetings again from the darkness. I missed this film on its initial release earlier this year, but thankfully, it became part of my end-of-year movie marathon. While the premise—following a group of prisoners staging a theatrical production—didn’t initially grab me, I’m thrilled I finally watched it. What a pleasant surprise!
The film’s origins are fascinating. John H. Richardson’s *Esquire* magazine article, “The Sing Sing Follies,” formed the basis, itself inspired by Brent Buell’s prison stage production, “Breakin’ the Mummy Code.” Former prisoners Clarence Divine Eye Maclin and John Divine G Whitfield enhanced the story, and the screenplay was co-written by Cline Bentley and director Greg Kwedar. Adding another layer of intrigue, Divine Eye and Divine G are characters in the film, with Maclin portraying himself.
Colman Domingo (known for his role in *Ma Rainey’s Black Bottom*) delivers a compelling performance as Divine G, the unofficial leader of the Rehabilitation Through Arts (RTA) program. He acts as recruiter and writer, while Brent Buell (played by Paul Raci of *Sound of Metal*) directs and co-writes the productions. The dynamic shifts with the arrival of the intimidating Divine Eye (Maclin), who auditions for the lead role typically held by Divine G. The contrast between the energetic, smiling Divine G and the stone-faced Divine Eye is striking.
The creative process of the new play is engaging, incorporating suggestions from the cast that range from time travel and *Hamlet* to gladiators, Robin Hood, and Freddy Krueger. Just as we become invested in the men’s bond forged through their collaborative efforts, the harsh reality of parole hearings intervenes. The film powerfully portrays the ever-present reality of incarceration and the limited freedoms these men experience. The unfairness of the system is particularly poignant when a prisoner is incarcerated for a crime they didn’t commit.
Many of the cast members are former prisoners themselves, including Maclin. He, along with Domingo (especially expressive in close-ups), gives a powerful performance. Bryce Dessner’s score (also known for his work on *The Two Popes*) is superb, and Kwedar’s inclusion of vintage clips from actual prison shows is a nice touch. While the prison shows themselves offer a feel-good element, the film subtly underscores that happy endings aren’t guaranteed. Let’s just hope no one mistakes this for the 2016 animated film, *Sing*.