When it comes to prison dramas, most people tend to think of films like The Shawshank Redemption, Cool Hand Luke, Escape from Alcatraz, or Midnight Express to name a few. The majority of films within this genre are often violent, and tend to paint most of the characters within them as little more than hardened criminals. While there are varying levels of truth to these types of films, rarely do they truly show the humanity of people who are incarcerated. This is one of the many things that makes Sing Sing, a film about a theatre group in a maximum security prison, so refreshing and so powerful. Based on an actual group called Rehabilitation Through the Arts, or RTA, the film follows a group of inmates as they stage an original production. Starring Colman Domingo in a career-best performance, and featuring a supporting cast largely made-up of formerly incarcerated men, Sing Sing evokes a wide array of emotions, and has a strong level of vulnerability that you typically don’t see in films set in a prison. It is beautiful, moving, and provides a deeply human look of prison life, as well as the transformative power of the arts.
Divine G (Colman Domingo) is imprisoned at Sing Sing Correctional Facility, one of the most infamous prisons in the world, for a crime he didn’t commit. He is involved in a number of programs, finding true solace in RTA, a theatre group that puts on various productions. As the group gears up to perform an original play titled Breakin’ the Mummy’s Code, a newcomer, Clarence “Divine Eye” Maclin (who plays himself in the film) joins them. Divine G befriends him, despite some resistance at first, and the group works together to stage their show, and help each other feel more human again.
I had the pleasure of seeing this film at Arkansas Cinema Society’s annual festival, Filmland, which included a Q&A with Colman Domingo, as well as co-writer and producer Clint Bentley and producer Monique Walton. They each shared their insight on the long process it took to make this film, and hearing them speak about this makes the film all the more astounding. Knowing that the RTA program that is prominently featured in the film is real, and that many of the film’s actors are alumni of it also adds a layer of authenticity to it, and makes it all the more powerful. What makes the film soar, in my opinion, is the care and love that flows out of every single person involved in it. It is so strongly felt in every frame of the film, and hearing it directly from Domingo, Bentley, and Walton only solidified this. Everyone involved became united in telling a story that we don’t usually see in cinema, and both shows how important and life-changing programs like RTA are, as well as the humanity of those who are incarcerated. The film has a big heart that it proudly wears on its sleeve, and yet it never feels overly sentimental or heavy-handed. It feels real and honest, and has a strong emotional core that radiates throughout the entire film.
I always love when films end up being more than meets the eye, and that is certainly the case with Sing Sing. On the surface, it seems rather straightforward and relatively simple, but as it reveals itself, it feels more impactful and has an emotional depth to it that blew me away. A lot of this comes from the almost documentary feel that some of the scenes have. During the Q&A, it was revealed that a few moments were unscripted, namely some of the acting exercises that the characters take part in. One of these moments is where each of the men is asked to imagine their perfect place and describe it to the rest of the group. This scene was powerful enough as is, but finding out that none of what the actors say is in the script really added a new layer to it. Another scene, where one of the inmates, played by Sean “Dino” Johnson, talks about how important the group is brought a tear to my eye, and I was gobsmacked to find out that it was improvised and based on his real experiences. These, as well as the moments that show the dynamic between the men in RTA, are such a strong part of the fabric of this entire film, as it shows a part of them that doesn’t get seen very often, both in cinema and in life. It opens a window for viewers to see these men and their lives in a way they may not have ever considered, and may cause some to rethink their preconceived notions on prison and those who are incarcerated.
Beyond that, the film shows how important the arts are, and how they can heal and empower us. As someone who has been involved in the arts for most of my life, this message rang especially true for me. Seeing how theatre helps the men of this film heal the wounds that life has given them is so beautiful, and you can feel the sheer joy and purpose that it gives them. Considering that most of the cast is acting from their own experiences in RTA, this makes it all the more powerful. As the film goes on, we see the members of the group tear down their walls, showing who they really are deep down. It is so rare that we see men be this vulnerable on film, let alone in real life, and it is hard not to be moved by it. This film truly allows the viewer to feel the magnitude of how RTA affects every single one of its characters, which greatly enhances its overall impact.
The film is shot rather well, utilizing longer takes that feel natural and help cultivate a sense of realism in certain moments. There are a fair amount of montages in the film, but they are intentionally used and beautifully edited. Normally something like that might bother me, but these sequences serve such a strong purpose to the story the film is telling that I actually appreciated it. The same could be said for Bryce Dessner’s score. When the first bit of it started playing at the beginning, I couldn’t help but be a little concerned that it might end up being a bit overpowering. Thankfully, those concerns were put to rest quickly, as it complements the film nicely, and is just plain gorgeous to boot. It ended up being one of my favorite aspects of the film, and it has a comforting quality that fits in perfectly with what the film is seeking to accomplish.
The heart and soul of the film is its cast, and I would be shocked if I see another ensemble this year that is as phenomenal as this one is. All of the supporting actors who play versions of themselves are excellent, and each bring their own distinct personalities to the forefront of their performances. Each one of them has such a strong presence, and are all fantastic throughout this film. Paul Raci plays a somewhat similar role to the one he played in Darius Marder’s Sound of Metal, albeit with more warmth, and I really enjoyed what he brings to the table here. As Brent Buell, a teacher and mentor of the RTA program, you can feel the passion he has for theatre, as well as the love and respect he has for the men in the group. His role is a bit smaller in the grand scheme of things, but he is so good here. I was also impressed by Sean San José, who plays the role of Divine G’s good friend Mike Mike. San José is incredibly likable in this role, and his dynamic with Colman Domingo is a pure delight to watch. Knowing now that the two have been friends for decades in real life, it's no wonder that their chemistry is so strong. He has such a great energy to his performance that makes you instantly connect with him, and is responsible for some of the film’s best moments.
Clarence “Divine Eye” Maclin gives one of the most incredible debut performances I’ve seen in quite some time. Playing a version of himself, he serves as a bit of an opposing force at the beginning of the film, but soon finds solace and purpose with RTA. Maclin is an RTA alumnus, and his performance draws from his lived experiences to help him deliver some truthful, stunning work. His transformation is the cornerstone of Sing Sing, and Maclin portrays this incredibly over the course of the film.
Colman Domingo has long been an actor I have admired, but after seeing his work here and hearing him speak about his craft at the Q&A, he has become one of my absolute favorites. I would go as far to say that this is the best performance he has given to date, and that it would be ridiculous if he doesn’t at least grab an Oscar nomination for it. Domingo plays John “Divine G” Whitfield with such openness and insight, and feels fully lived in as a result. He captures the humanity of the character, and by extension the real Divine G (who gets both an Executive Producer and Story by credit on this film, as well as a brief cameo) with such precision, and makes it so easy for you to root for him. There is such empathy in Domingo’s performance that makes him quite relatable, and quite affecting as well. Domingo has a tendency to go big in some of his performances, but he gives a much subtler performance here by comparison. He truly immerses himself in the role, and is so genuine every step of the way. It really feels like he is playing a version of himself at times, just like many of his co-stars in the film. Domingo has consistently impressed me in everything I’ve seen him in, but his work here is next-level, and easily the best performance I’ve seen in any movie so far this year.
Sing Sing is a prison drama unlike any I’ve ever seen. By trading the conventions of the genre for a more hopeful tone and humanistic filmmaking, it left an indelible impression on me. The cast is superb across the board, and knowing that many of them are RTA alumni only adds to the film’s message significantly. This film really connected with me on such a deep level, and I can guarantee it will do the same for so many. It is both a testament to the power of the arts and a triumph of the human spirit, and I can see myself coming back to it over and over again. Sing Sing is astounding in so many ways, and moved me so deeply.
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