“All
the World’s a Stage”
A Review of Sing
Sing by Olszyk
Distribution Service: Theatrical
MPAA Rating, R
USCCB Rating, Not rated at the time of this review
Reel Rating, Four and a Half Reels
Visiting people
in prison is the most ignored of the corporal works of mercy, but with nearly
two million people currently incarcerated in the United States it needs more
attention. Sing Sing, named after the infamous New York prison, is an
intimate and profound look at this experience through the eyes of several long
term men who struggle to put on a comedic play for their fellows. It’s a
beautiful yet difficult film but honest and compassionate.
John
(Colman Domingo) has been in federal prison for almost thirty years. Rather
than let this time go to waste, he started the Rehabilitation through the Arts
program (RTA), bringing in theater professionals to direct plays put on by the
inmates. When the story begins, he is just finishing King Lear and preparing
another serious venture. His fellow groundlings, however, want to write a
chaotic original comedy with Egyptian mummies, time travel, Genghis Khan, and
even Hamlet. Needing more players, John encourages drug dealer Clarence “Divine
Eye” Maclin (played by himself) to audition, only for this greenhorn to snatch
the part John wanted to play. This leads to a competitive relationship
reminiscent of All About Eve as the production progresses. There are
plenty of twists along the way as John applies for parole, Clarence struggles
to learn lines, and one unexpected death.
The best
aspect of Sing Sing is its striking authenticity. Only two of the
characters, John and the play director, are performed by professional actors. The
rest are real RTA alumni. Their jokes, mannerisms, tattoos, and pain are
strikingly real. The film is set almost entirely indoors, often inside the
cells themselves. Cinematographer Pat Scola uses primarily facial close-ups and
often frames the camera around corners or blocked off slightly by an object,
always giving a slight feeling of claustrophobi. Rarely has a film done a
better job creating empathy with its subjects.
There’s a
large question looming in the background: why do all this? Why prepare for
months to perform a show without pay that few will see. It feels frivolous,
especially to Divine Eye. One inmate confronts his bad attitude:
“I saw a man get his throat cut
right in front of me. Blood everywhere, and I
didn’t even flinch. We do this to
remind ourselves that this place is not reality.
This isn’t how the world is.”
In short, it connects them to the outside world and allows a
temporary retrieve from their situation. It gives purpose and reminds them of
their inherent dignity. Everyone needs meaning, especially in a place where it
can be hard to find.
Sing
Sing largely stays away from ethical conversations of crime, punishment, or
long-term incarceration, wisely focusing on the individual humanity of the subjects.
It is heavily implied that John was falsely accused, but all the other inmates
admit their guilt. Divine Eye has been imprisoned several times and assumes he
will return once released. However, his experiences in the RTA have changed his
perspective, and now he is determined to do better. While it is certainly just
to remove from society those who cause citizens immediate danger, it is important
to remember that these individuals are still human beings with infinite value
from God. History is also full of people who changed their lives for the better
while in jail, and everyone is capable of conversion.
Storytelling,
whether done around a Boy Scout campfire, on a million-dollar film set, or a dilapidated
prison gym illuminates human experience and leads us to divine truths. Sing
Sing is a testament to the fact that this light can be found in the darkest
of places. At the end of the film, the audience meets some RTA members and sees
real footage of this crazy production. This program has converted hearts and
reformed lives; hopefully, it will continue to do so for years to come.
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