The new picture has so many references to Hollywood classics like "Stormy Weather" and early jazz films that it might be considered a Black cinema curriculum. Even when Hollywood considered Black artists as little more than mammies and butlers, the musical genre, a storytelling technique comprised of magical realism imagination and hoofing skill, gave Cab Calloway, Lena Horne, and Dorothy Dandridge a platform to express their beautiful radiance. The promise of Black emancipation was heard via ecstatic melodies performed in magnificent dresses and elegant tuxedos.
The genre's potential for liberation is shown in the latest film adaptation of "The Color Purple," which is based on a narrative of tenacity and sisterhood that initially gained popularity in 1983, when its author, Alice Walker, won the Pulitzer Prize. The fiction Pulitzer Prize. Steven Spielberg directed a renowned big-screen version of Walker's novel within two years of her breakthrough. By 2005, a staged musical adaptation of "The Color Purple" had debuted on Broadway. Blitz Bazawule, a Ghanaian filmmaker, is now carrying on the book's legacy by creating a film adaptation of the Broadway musical. "Color Purple" by Bazawule tries to give Celie (Fantasia Barrino-Taylor) the type of interiority that reveals her tenacity in the face of adversity. Celie is pushed into marriage with the violent Mister (Colman Domingo) after being raped as a kid by the man she believed was her father and being removed from her children as a result of his abuse. Nettie (Halle Bailey), her sister, bids her by and departs for Africa. Celie's sole pals are Mister's son Harpo (Corey Hawkins) and his wife Sofia (Danielle Brooks). But a chance for true love comes when Mister's old passion, seductive singer Shug Avery (Taraji P. Henson), returns to town. Shug and Celie's growing physical affinity, along with Nettie's messages, leads Celie to imagine enormous worlds. Celie's limitless creativity reflects the The continuing impact of what Bazawule referred to as "the universal Black cadence," and how a simple shuffle or game of patty cake may become a song.
That method imbues "The Color Purple" with the ingenuity essential to empower Celie's tale, establishing the arts as a crucial language for resistance and a critical instrument for Black people to be more than receptacles for suffering. Early Black musicals like “Porgy and Bess” and “Swing!” are examined in Arthur Knight’s book “Disintegrating the Musical: Black Performance and American Musical Film.” His analysis is drawn from W.E.B. DuBois’s belief that music is an essential element of Black identity. The control of that gift, therefore, is crucial, and the musical — as a locus for song, fashion and romance — becomes a strategy against the oppression faced by Black people across America.
Writing By Kennedy Lucas Patterson
Head Editor & Chief : Kennedy Lucas Patterson
Presented By "Kennedy Lucas & Associates
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