'Sing Sing': Making theater gives prisoners a sense of freedom in one of the year's best films
When we think of the best prison movies ever made, “The Shawshank Redemption” (1994) immediately comes to mind, quickly followed by the likes of “The Birdman of Alcatraz” (1962), “Cool Hand Luke” (1967), “Papillon” (1973), “Midnight Express” (1978), “Escape From Alcatraz” (1979), “Kiss of the Spider Woman” (1985), “In the Name of the Father” (1993) and “The Hurricane” (1999).
We can now add the gloriously lionhearted and brilliantly rendered “Sing Sing” to that list. Based on the real-life Rehabilitation Through the Arts program at Sing Sing Maximum Security Prison and featuring an Academy Award-worthy lead performance by the great Colman Domingo, as well as resonant work from a supporting cast 85% populated by real-life RTA alums, this is an admittedly sentimental and idealistic work that could have become treacly in the wrong hands. To our great benefit, the material is handled beautifully, even tenderly, without becoming maudlin.
True, there are some scenes that unapologetically aim for our heartstrings, but director Greg Kwedar, who co-wrote the screenplay with Clint Bentley, infuses the film with a gritty, docudrama look and doesn’t sugarcoat the backstories of the hardcore criminals who take part in RTA productions. These men don costumes and learn their lines and participate in rehearsals that are like therapy sessions, not because they think it will punch some magical rehabilitation ticket, but because it gives them the chance to escape, in their minds, the concrete walls of their claustrophobic cells and the razor-wire fences surrounding the institution.
As one inmate puts it, “We are here to become human again.” (“Sing Sing” is based on John H. Richardson’s 2005 Esquire article “The Sing Sing Follies,” and “Breakin’ the Mummy’s Code,” the original play by Brent Buell that is re-created in the film.)
Domingo gives a performance for the ages as John “Divine G” Whitfield, who is serving a long stretch at Sing Sing for a crime he didn’t commit and is a founding member of the RTA. (The real-life Divine G has a cameo in the film.) Intelligent, sensitive, acutely aware of his soul-crushing environment yet brimming with ego and enthusiasm and a sense of mellow wisdom, Divine G spends every waking moment either preparing his case for an impending clemency hearing or diving full-on into the escapism and freedom of expression of the RTA rehearsals and productions, which are like oxygen for his soul.
After a triumphant but exhausting presentation of “A Midsummer Night’s Dream,” the theater group is looking to do something lighter and fun-filled, and when they can’t agree on an existing work, the volunteer director Brent Buell (an excellent Paul Raci) writes an absolutely bat-bleep bonkers play with elements of Western movies, pirate adventures, “Hamlet” and even an appearance by Freddy Krueger. Why not?
Divine G and his cellmate and fellow actor Mike Mike (Sean San José) are always on the lookout for new prospects to join the group and they seem to relish a challenge — and that challenge comes big time in the form of one Clarence “Divine Eye” Maclin (playing a version of himself), who is terrifying even in the environs of Sing Sing, and initially balks at joining the group before deciding to give it a try. Even then, Divine Eye is a powder keg, at one point exploding because a fellow actor breaks prison code by walking behind him during a run-through of the play. Eventually, Divine Eye can’t resist the infectious enthusiasm of the troupe and is willing to let down his defenses, at least to a degree.
Still, for every uplifting and inspirational moment in “Sing, Sing,” there’s a scene to counterbalance the emotion, as when prison guards who couldn’t care less about Divine G’s creative ambitions tear up his cell in search of contraband, or when the comic-relief, ever-smiling Mike Mike tells Divine G how he came to that nickname — an anecdote both funny and tragic that sums up an entire, wasted, violent life.
A number of other supporting players, all portrayed by former inmates, also have an opportunity to tell their stories, and while “Sing Sing” never delves into preachy lecturing about the system and doesn’t pretend the vast majority of these men are not guilty of horrific crimes, it also makes it clear that in far too many cases, they were brought up in circumstances that stacked the odds against them from the start.
Filmed in 19 days in a number of decommissioned correctional facilities, “Sing Sing” pays great attention to production design, e.g., how each man’s cell is stacked with boxes of their favorite foods, and contains drawings and photos and books that mean something to them. The acclaimed musician Bryce Dessner, a member of the rock band the National, contributes a nomination-level score. Editing, cinematography and costumes are top-tier.
Above all, however, “Sing Sing” will be remembered for the amazing, multilayered, complex and shining work by Domingo and the entire ensemble. This is one of the best movies of 2024.