SING SING

US, 2023, 107 minutes, Colour.

Coleman Domingo, Clarence Maclin, Sean San Jose, Paul Raci.

Directed by Greg Kwedar.

Sing Sing is one of the United States most well-known prisoners, in upstate New York, on the Hudson River. And it featured in early films, 20,000 years at Sing Sing with Spencer Tracy and Bette Davis in the 1930s and subsequent locations for various prison thrillers.

This is not that kind of film.

For some time at Sing Sing, there was a program RTA, Rehabilitation through the Arts. This Is what this film Is about, a focus on the prisoners themselves, their response to Theatre, the effect on them personally, for morale in the prison. It was based on an article of 2005 in Esq magazine, written by John Whitfield who is the central character of this film. (In 2005 there was a documentary, set in California, Shakespeare Behind Bars, with the same theme.)

Of course, there are some scenes in the yard, the sudden siren and prisoners having to prostrate themselves, some focus on the cells some harassment of guards ransacking belongings in cells… But, the perspective of this film is very positive.

The principal feature is the fact that most of the cast consists of actual prisoners from the past or the present, re-acting what they lived through with this theatre rehabilitation. On face value, literally, they don’t seem likely candidates for drama but tough, one with a tattooed face, mainly African-Americans, in fact. They enter into this film with great zest, the discussions, exploring their characters, discussing whether to put on comedy or drama, finally opting for comedy.

But, at the centre, is the character of Whitfield himself, wrongly convicted, long time in prison, turned down by parole boards, but writing creatively, plays for the prisoners, part of the steering committee for the theatre group, coaching, acting. And along with him is the director, who comes from outside, long time working with the prisoners, writing the plays, some powerful scenes where he trains them, directs them in movement, has some quietly closing their eyes, contemplating memories of a friend, encourage and to express what they have seen and felt.

There are two other prisoner characters, a great friend of Whitfield, following him around, full of enthusiasm and suggestions. His played by an actor, Sean San Jose. The other principal character is the former prisoner, Clarence Maclin, replaying his own experiences, drug dealing in the yard, any demands from the dealer, it interested in the theatre, initial clashes with Whitfield but forming a bond, the audience understanding the impact of the rehabilitation through watching him, his Hamlet soliloquy, the director urging him to intensity, his moods, his developing a relationship with Whitfield, support for him when Whitfield breaks after an interview with the parole board.

Colman Domingo has won many awards for his portrayal of Whitfield, many nominations including Golden Globe and Oscar. For this reviewer, the film could have been longer, more development of the prisoner characters in themselves, more scenes of rehearsals and performance. But, Domingo holds it together on the whole project is, of course, a most worthy cause.

1. Audience knowledge of Sing Sing, prison, history, eye security, guards and administration? This film’s focus on the group of prisoners, and the work of Rehabilitation through the Arts?
2. The views of the prison, outside, the Hudson, trains? Inside, the yards, the cells, rehearsal rooms, theatre? Musical score, final song?
3. Nominations for awards, Coleman Domingo’s performance, the professional members of the cast, most of the cast as former prisoners, prisoners, reliving their experiences?
4. The atmosphere of the prison, comparative freedom for the theatre group? Scenes in the cells, sharing, discussions, conditions? Harassment of the prisoners, sirens and falling to the ground in the yard, visiting the cells and wrapping them up…?
5. The film based on the reality of the Rehabilitation for the Arts, John Whitfield's article Esq, 2005? His story? Long years in prison, meetings with the Parole Board, the focal meeting, the documents, the accusations, the lack of evidence, the crime, his innocence, the phone call to his mother? His children? His career in writing, the players, the performances?
6. The introduction to the range of prisons, their appearance, characters, actual prisons and experience, the use of their audition videos in the film? Their interest in theatre, the discussions, the steering committee, discussion about drama or comedy, the interchanges, the initial visuals of their performance at the credits, the audience interest in what they could achieve?
7. The director, his working with the group, his personality, encouragement, they’re welcoming him? The discussion about the play, the comedy, the range of ideas, from Hamlet to Freddy Krueger, his going away, writing a text, bring it to them, their responses? The scenes of him training them, walking, shooting their eyes and imagining, communicating their images?
8. Clarence Maclin, in the yard, the drugs, the young man, the bad drugs, $500? His relationship with Whitfield? The nicknames of Divine? The gradual bonding, the discussions, the issue of Hamlet’s soliloquy? Macon and his attitudes, with the group, surly, gradually harmonising, succeeding, his encouragement to be intense with the soliloquy? The later scenes, the discussions with Whitfield, sitting with him, supporting him, helping Whitfield come out of himself? Final performances?
9. The character of Mike Mike, professional actor, sharing with Whitfield, their discussions, following him round, ideas, creativity, his loss with the group, their response?
10. Whitfield, his character, strengths, moments of depression, intervening, encouraging? The bond with Mike Mike? With Maclin? The impact of the board meeting? The documents, Maclin and his being able to leave?
11. The rehearsals, the costumes, performance, happiness, the absurdity of the play, the women coming in for their roles? The director? Whitfield and his interruption, disastrous, the reactions?
12. Whitfield persuaded to come back, the performance, the success – and the collage of sequences, especially drawing on those from the actual past?
13. Whitfield, quiet, reflecting, his leaving, meeting with Maclin, the exhilaration of freedom?