For Colored Girls -- Lionsgate
Directed by Tyler Perry
Screenplay by Tyler Perry, based on Ntozake Shange's choreo-poem stage play, for colored girls who have considered suicide when the rainbow is enuf
Cast: Janet Jackson, Kimberly Elise, Loretta Devine, Thandie Newton, Anika Noni Rose, Kerry Washington, Tessa Thompson, Phylicia Rashad, Whoopi Goldberg, Macy Gray, Michael Ealy, Omari Hardwick, Richard Lawson, Hill Harper and Khalil Kain
Film Editing: Maysie Hoy
Costume Design: Johnetta Boone
My Grade: A
First of all, this is a time when a film comes along that I wish the Academy, like the Screen Actor's Guild Awards had an ensemble acting category. I will come back to that point in a moment, but I must first begin this review with a poignant question to mass media film critics. Is Tyler Perry on some sort of list? I say that, because I could not get over the numerous negative critiques this film received citing everything from accusing Perry of hacking Shange's original poetic masterpiece to smithereens with formulaic melodrama, very little character development and Janet Jackson coming from the Meryl Streep school of Miranda Priestley a la Devil Wears Prada - actually THREE reviewers had that same insight. I found it curious. Did they have a meeting? I only bring this up, because this is one case where I must compel you to not listen to the mass media critics on this one. The other thing that seemed to be across the board with these critics is they felt that the interwoven poetry of Ntozake Shange's original work with Perry's dialogue would go way over his 'usual' audiences head. What the hell is that supposed to mean? As a person familiar with the original piece, as well as Perry's work - I can tell you that it didn't go over my head. People get it!
It is as though the mass media critics have written him off as comedy, not to be taken too seriously with the Medea films and what not. Sure, Hollywood can count on him to rake in the box office come opening weekend, but he'll never be considered for anything more than that. I wouldn't write him off just yet. This could very well be Tyler Perry's best film. In fact, it is a borderline masterpiece in social commentary. Without giving away any spoilers, unlike some of those aforementioned critics, the issues brought about through both the original play and this film are ones that are not only viable, but that need to be put on the table. If not, unapologetically, put in your face - as they are so eloquently and grittily displayed in the film.
My hope is that not only mass audiences give this film a chance, but that it gets some recognition come awards season. The depths of the cast alone, with each of the central actresses portrayals having at least one, what I affectionately call 'Oscar reel' moment. Of course, I have my favorites. I mean, in an ensemble this deep and gifted, who do you nominate or recognize? Kimberly Elise definitely could come up come awards season, as well as Thandie Newton - as both brought the bravura to their roles.
The best thing about Perry's direction of the film lay in it's nuances - and there are several. There is a scene between Newton and Whoopi Goldberg where they exchange lines from one of Shange's wonderful poems - both beginning in the same place, then drifting separately; each actress not missing a beat and then meeting up to a conclusion from where they first began. I was on the edge of my seat. Phylicia Rashad is brilliant as the wise, if not matronly apartment manager who definitely goes above the call of duty on several occasions. Rashad's performance is timed so well... It is as though she shows up, and it makes all the sense in the world. Every time... Loretta Devine shines in what I think is the best role I have seen her in, 'like you've never seen before.' Even Macy Gray's one scene will have you feeling so on edge and in the moment, if you just go with the suspension of disbelief...yes, people; (ie those critics) run with it.
Get into these characters. There is so much meat here, and for critics to just toss it away like 'whatever' really got under my nail a tad. It is the movies people. I also have to make mention of the men that are in these women's lives. Michael Ealy, in what must be the most unlikeable role an actor could have - his character definitely has some major issues, but Ealy makes you feel for him; just brilliant. Omari Hardwick, Richard Lawson, Hill Harper and Khalil Kain are all solid, as well.
Then there is that exchange between Janet Jackson's Jo/Red and her husband (Hardwick) near the end of the film. No spoilers here, but let's just say that it is a subject that I am glad somebody finally put very much in your face; in not just the African-Amercian community, but in the world community as well. Jackson's sweet soliloquy with all of it's tears and reserved rage, hurt and emotion has got to be her shining moment. I have always been a fan of Janet Jackson, but in a lot of her previous movies I always felt like I was watching Janet Jackson playing a role. Not here. This is the real deal. Pure, raw acting.
The ensemble is so important to this film and I hope audiences do go see it, get into the characters, stories and the wonderful poetry and just go with it. If you are familiar with the play, accept that this is a film based on the material and don't get caught up in trying to compare one with the other. We don't do it every time a Shakespearean piece is turned into a film, why start now?
Also, of note - if, by chance, this film gets recognized come awards season two other artist's work shines as well and that is the amazing Maysie Hoy's film editing and the masterful costume design of Johnetta Boone. Boone's task was not as easy as one would think. The costumes in this film were very important from Goldberg's clean white garb for her religiously fanatic Alice and Loretta Devine's costume jewelry to the pastel shirt worn with metrosexual fit-to-a-tee suaveness of Hardwick's suit as he's talking to Jackson's Jo on his cell phone, while walking down the street. You better believe that every outfit in this film had a reason and a purpose.
Yes, it is the details and when you have woven them altogether you have what could very well be Tyler Perry's first step at being considered a serious filmmaker; a contender if you will - damn the naysayers.
Bravo!
