THE COLOR PURPLE (1985)*****

In preparation for the remake of THE COLOR PURPLE I thought I would revisit the original screen adaptation. It was directed by Steven Spielberg from a screenplay by Menno Meyjes and based on Alice Walker's iconic novel of black southern female misery.  At the time this must have seemed like rather an odd combination of director and writer for such material - two white men, known for their work in blockbuster action movies. Indeed, the race of the directorial choice attracted a lot of criticism, as well as Spielberg's coy depiction of its lesbian storyline.  I feel that both of these criticisms fail to consider the context of the time: the need to attract commercial backers and keep a PG-13 rating for the mass market. They also fail to acknowledge the opportunity to see so much black talent in front of and behind the lens - with stunning debut feature central performances from Whoopi Goldberg and Oprah Winfrey, as well as a masterful score from Quincy Jones.*  A more convincing criticism of both book and film is its depiction of black male sexual violence.  Added to this, one might criticise the racism of the film industry. While the film was nominated for eleven Oscars, it didn't win a single one. 

The book and film take place over the first half of the twentieth century in the rural South. Their protagonist is Celie - a black girl so oppressed that she is raped by her father and her incestuous children taken from her.  She is then given to another violent man as his wife, dudgeon and surrogate mother to his children.  The only love in Celie's life is her sister Nettie, but they are cruelly separated by her husband and she spends much of her life believing Nettie is dead.  The only friendship Celie has is with her stepdaughter-in-law Sophia, whose fierce temper and assertiveness are an inspiration and then a tragedy.  And the only lover Celie truly has is Shug, her husband's long-time mistress, who teaches Celie what real sexual pleasure can be.

The standard criticism of Spielberg films is that they are sentimental and gauche. There is sentiment here but it is all earned. Whoopi Goldberg's debut as Celie is so heartbreakingly sincere that one cannot help but glory in her small moments of happiness and love. I was similarly deeply moved by Shug (Margaret Avery), the stunning singer, in her final homecoming to her disapproving pastor father. And there is something quite haunting about Sophia's humbling, portrayed by an otherwise vivacious and scene-stealing Oprah Winfrey. 

There is so much else to admire in this film beyond the economic script and great performances. Allen Daviau's cinematographer portrays both the lush warmth of the South as well as the oppressive claustrophobia. There is both beauty and violence in this film. But for me, it's all about Whoopi Goldberg and Quincy's score. This is tremendously powerful film-making.

THE COLOR PURPLE is rated PG-13 and has a running time of 154 minutes.  *I am curious to see how the new film - based on a musical adaptation of the book - will better the final "coming home" of Shug to a thrilling gospel score.) 

SCORE: A FILM MUSIC DOCUMENTARY

One of the most wonderful experiences of attending the San Francisco film festival was watching this fascinating film about film music in one of the theatres at the Dolby Laboratories - experiencing a visual and audio quality rarely seen in a commercial cinema. To be sure, this documentary didn't really warrant a screen that would've done a big budget action movie justice, but the sound quality was much desired.  Over 90 minutes, the film-makers give us an amazing insight into the history and current state of composing for film, including a quite dazzling access to composers including the pre-eminent Hans Zimmer.

The impression one gets is that movie composition has changed from writing and conducting a traditional orchestral score to something more akin to a polymath enterprise - creative originality; running a vast team of people; and enough IT knowledge to produce the music.  It's the middle part of that that really surprised me - these composers are essentially front-men for a team that includes people who will supplement their creative work, produce scores, and sometimes conduct so that they can be in the mixing booth ensuring the overall mix of the work produced.  And now they are supplemented by a new breed of conventional rock star turned composer bringing a new feel to the scores they create.

IN COLD BLOOD - Perry's story, well-told

On the back of the UK release of CAPOTE, the National Film Theatre is screening IN COLD BLOOD - the 1960s movie based on the Truman Capote "non-fiction novel." Unlike CAPOTE, IN COLD BLOOD is simply a straightforward re-telling of the Clutter killings. This movie achieves what Perry wanted, and what Capote himself wanted despite the exploitation shown in Capote: to show that Perry Smith was not a monster, but an unstable kid in need of mental help. IN COLD BLOOD is a great movie, and in sharp contrast to CAPOTE, it grabs you from the opening shots and keeps your attention fixed to the screen. The energy of the project is created by the furious inter-cutting of the stories of the Clutter family and their killers; the innovative and imaginative camera-work; as well as the fantastic score from jazz legend Quincy Jones. IN COLD BLOOD was photographed by legendary cinematographer Connie Hall. Hall shot BUTCH CASSIDY & THE SUNDANCE KID, COOL HAND LUKE, AMERICAN BEAUTY, ROAD TO PERDITION. Some shots are just so beautifully framed you want the movie to stop so you can take it all in. In particular, when Perry Smith pulls into the bus station in Hokum, we have the bus station in the foreground on the left hand side of the screen - dark, menacing, just like our first impression of Perry. On the right hand side of the screen is the "real world" - skycrapers glimmering in the sunshine. The cast is fantastic, especially Robert Blake playing Perry Smith. (Although, in the saddest irony since the cop from the Village People became one of America's Most Wanted, Robert Blake is currently being tried for murder.)

The British Film Institute is showing IN COLD BLOOD as a tie-in with the UK release of CAPOTE.