There are the typical trappings of an overly sentimental film that can overflow into films of quality – what this means to say is that despite its good reviews and immediate great reputation, there was a part of me that couldn’t help but feel that the plot of Sing Sing, that of a series of prison inmates who find purpose in an acting program – had the possibility to possibly be a touch sentimental and a touch saccharin. Now, I have no issue with sentimentally, unflinching, bold or otherwise. However I do have an issue with the saccharin, but fortunately Sing Sing is tender, raw, truthful and indeed sentimental in the very best possible way.
Based upon the
true lives of many of those involved on screen and behind the scenes of the
film, Sing Sing may very well be if nothing else the most fascinating
and inspiring piece of work in the Oscars race this year. But its goals are
beyond awards, its goals are at its core – to spread the good word of the arts
systems in prisons and out of prisons that can and do so much good work for rehabilitation.
Now Greg Kwedar with his writing partner Clint Bentley has made here a film
that does hit narratively the typical beats of any prison drama, however at its
heart has a sentimentally and difference of subject that make it not only stand
out, but significantly reflect something far beyond your typical prison drama. The
writing, performances and direction here all leans heavily into the documentary
roots of the story and so one can’t help but feel while watching a major
reflection of truth, it is not until the film finishes proper perhaps though
that you realise just to what extent this film is a powerful statement for the
power of the program it is depicting. Led by Colman Domingo and Clarence Maclin
(who is a co-lead, but will be in supporting conversations for awards, which he
may very well walk entirely away with), the film works in moulds of ensemble
drama, but does for the most part pivot around a profound crossroads in Domingo’s
character’s life. Domingo is his sterling self and portrays with such an immense
tact the complexities of portraying performance, whilst then absolutely bodying
us with his subtleties. But as I’ve already eluded to it is Clarence Maclin who
steals the film, effectively portraying himself, who manages to portray such a
believable arc of not exactly absolute, but profound interior change. Domingo
and Maclin play so well together that the film at its core reveals itself to be
more so perhaps a story of plutonic love and deep friendship, however the true
core of the tale, that of the program is never removed from view. Paul Raci,
Sean San Jose and Sean Dino Johnson, amongst so many others deliver commanding
performances that each in their own turn astound us. It’s truly a movie of
immense power that I cannot wait to see again, where I frankly have very little
doubt it will fail to move me as it did on my first watch, with some things
even most likely having each more of an effect upon me.
A 9/10 sublime success that all should see. Led by a divinely talented group of individuals blending the documentarian with the beautifully narrative and impressionist, never once losing sight of a blend of painful truth and raw happenings. Domingo is his astounding self, Raci is given the role he should have had far sooner and Maclin steals the entire film with a performance of immense strength and power. It’s a film of performances about performances overflowing with quality ones. And yet Sing Sing is also so much more. Kwedar’s sensational ode to the power of art never once leans into the saccharin and that is perhaps its greatest strength, second to its array of immense talent.
P.S. With its almost impossible to hate overall quality, I can see this film becoming rather swiftly the emotional independent dark horse of the Oscar race. But the power of this film lies far beyond its awards hopes and feels like a product that could genuinely lead to some good in this world. So saying that in a roundabout way is to say that any deserved Awards this film receives will further help the reach of this feature and that is most definitely a good thing.
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Thomas Carruthers
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