Cast: Colman Domingo, Clarence Maclin, Sean San José , Paul Raci, Sean Dino Johnson
Genre: Drama
Director: Greg Kwedar
In Irish Cinemas: Now
The opening scene of Sing Sing is both significant and ominous, setting the tone for the film. It begins with a powerful staging of “A Midsummer Night’s Dream”, where John “Divine G” Whitfield (played by Colman Domingo) delivers the play’s final lines to thunderous applause. The production is impressively realised, complete with professional lighting, costumes, and props, and the actors are fully immersed in their roles. However, this group of passionate and dedicated performers also shares a more sobering reality: they are all inmates at New York’s infamous maximum-security prison. As the scene unfolds, it becomes evident that this is neither a dream nor a flashback; the story is set in the 2000s when Sing Sing’s Rehabilitation Through the Arts (RTA) program had already been making a significant impact on the lives of its participants. The film immediately establishes Divine G and his fellow incarcerated actors not just as prisoners but as vibrant, creative individuals shaped and nurtured by the transformative power of the arts.
The well-worn approach to telling stories of finding hope in dire situations often follows a predictable formula: amplify the despair, introduce a saviour, and then provide redemption through the transformative power of art, sports, or similar avenues. While these narratives are usually well-intentioned, they tend to oversimplify complex realities and often reduce the experiences of those involved to mere plot points, stripping away their depth and individuality. However, Greg Kwedar’s film “Sing Sing” takes a refreshingly different approach. Co-written with Clint Bentley and developed in collaboration with participants and alums of the Rehabilitation Through the Arts (RTA) program, this poignant drama avoids the clichéd narrative traps. Rather than focusing on despair, it acknowledges it without dwelling, instead choosing to explore the ongoing journeys of its characters. By immersing the audience in these journeys, the film offers a more authentic and compelling portrayal that respects the complexities of its characters’ lives, avoiding the need for a neatly packaged resolution.
Under the vibrant and dynamic direction of RTA volunteer Brent Buell (portrayed by Paul Raci), the cast on-screen forms a tight-knit community, providing a much-needed sanctuary from the harsh realities within Sing Sing’s imposing walls. The program’s success is so pronounced that there’s a growing waiting list of inmates eager to join this unique ensemble for their next theatrical endeavour. At the heart of this group is Divine G, a playwright and novelist who serves as the emotional core of the ensemble. Seeing potential in Clarence’s “Divine Eye” Maclin, another incarcerated individual he’s observed from afar, Divine G decides to bring him into the fold. Divine Eye, though challenging and guarded—known for dealing drugs within the prison—is also deeply fascinated by Shakespeare. Despite his initial scepticism, he cautiously entertains the idea of joining the program. This narrative is even more compelling because many of the characters, including Maclin, are portrayed by the real-life individuals who inspired them. Maclin, who has since been released, brings raw authenticity to his role by playing a version of himself. This level of realism is further enhanced by the appearance of the person who inspired Colman Domingo’s character, offering a brief yet impactful cameo early in the film.
Sing Sing intricately weaves together a tapestry of complex themes, unravelling them with a deliberate mix of precision and heartfelt care. The narrative pulses with a playful “let’s put on a show” energy as the ensemble of characters collaboratively crafts and rehearses an original comedic play titled “Breakin’ the Mummy’s Code”. This imaginative production is a wild, time-bending adventure featuring an eclectic array of pop culture icons—from Captain Hook to Hamlet and even the infamous Freddy Krueger. Introducing Divine Eye into the group introduces subtle tension, altering the group’s dynamics and spotlighting a compelling internal conflict. Divine G, a dedicated artist deeply invested in his work, must confront and manage his ego for collective harmony, adding a rich layer of emotional depth to the story.
Naturally, the minor frustrations inherent in the collaborative art process are heightened by the unusually high stakes involved. For the men participating in Rehabilitation Through the Arts (RTA), this program serves as a crucial lifeline—a way, as one inmate describes, to “reclaim their humanity” within a system specifically designed to dehumanise them. The film thoughtfully underscores this point, notably in a poignant scene where volunteer director Brent guides each performer to recall and articulate a cherished memory or place from their past. However, directors Kwedar and Bentley skillfully avoid overly sentimental pitfalls. When the narrative seems on the verge of slipping into clichéd territory, reminiscent of the “O Captain, My Captain!” moment from “Dead Poets Society”, it pulls back, grounding itself in a more nuanced reality. The film’s strength lies in its willingness to acknowledge the limitations of art as a transformative tool for the incarcerated, even as it celebrates the powerful joys that creative expression can unlock. This is vividly illustrated when not all participants can access their “happy place” during Brent’s exercise. The film is further bolstered by the performances’ collective power, ensuring that each character, even those with minimal backstory, leaves a lasting impression. The dynamic between Domingo and Maclin stands out, capturing the ebb and flow of a genuine friendship that evolves.
For several decades, there has been a growing movement against the nation’s crisis of mass incarceration, and the release of “Sing Sing” is particularly timely. In 2024, two of the year’s most anticipated summer blockbusters—”Bad Boys: Ride or Die” and “Beverly Hills Cop: Axel F”—will continue Hollywood’s long-standing tradition of portraying law enforcement’s relentless chase and apprehension of so-called “bad guys.” Meanwhile, Dick Wolf’s “Law & Order” franchise remains a dominant force in television, reinforcing similar themes. However, Kwedar’s film, “Sing Sing”, diverges from these narratives by intentionally blurring the lines between “good” and “bad” characters. The film focuses not on the crimes for which the characters have been accused or convicted. Instead, it centres on the humanity of those who have been cast aside by society. The only significant exception in the story is the character Divine G, who seeks pardon for a wrongful murder conviction—a plot point that might seem too convenient or formulaic to some viewers. Yet, Divine G’s story is rooted in real-life events, emphasising the harsh reality many face in the justice system. At its core, *Sing Sing* challenges viewers to confront their preconceived notions of justice. The film and its characters courageously delve into the complex and often uncomfortable work of finding genuine compassion and empathy for individuals who are rarely afforded either. Rather than simplifying the narrative to a good versus evil dichotomy, “Sing Sing” seeks to humanise those within the prison system, highlighting the often-overlooked need for understanding and mercy.
Overall: 7/10
Movie Reviewer
