In my recent review of Nickel Boys, I discussed the American cinematic tradition of men fighting for their humanity against oppressive structures.
While Sing Sing also plays with that concept, the freedom in director Greg Kwedar’s film is more existential. In Sing Sing, all the characters fight to retain their humanity, but oppression doesn’t come from an evil warden or prison guard; instead, it’s institutional. The oppression in Sing Sing comes from the walls, the isolation, and a system designed to break them down. However, Sing Sing beautifully demonstrates the strength behind retaining one’s vulnerability and how theater can support one’s sense of self.
Sing Sing, based on the Rehabilitation Through the Arts (RTA) program, follows John “Divine G” Whitfield (Coleman Domingo), an inmate who works with his fellow RTA members, including new member Clarence “Divine Eye” Maclin (himself), to put on an ambitious comedic play. Shot in the actual Sing Sing Correctional Facility (along with other decommissioned prisons), the film is a masterclass in visual storytelling. The prison is claustrophobic; you can feel the walls closing in, easily putting you in the mindset of the inmates. Every groove in the stone walls and speck of dust captured in the light highlights how trapped they feel. It would’ve been almost overwhelming if it hadn’t been for the vast and open cinematography of the theater and RTA meetings. You feel the inmates’ relief acting on stage or performing theater exercises, beautifully conveyed through Greg Kwedar’s production.
The performances throughout Sing Sing were as transcendent as the filmmaking. Most actors are former inmates who went through the RTA program, and all give heartfelt, emotional performances. RTA founder Sean “Dino” Johnson and activist Jon-Adrian “JJ” Velazquez are fantastic playing themselves, but Divine Eye was a major highlight. Aside from delivering one of the best cinematic renditions of “To Be or Not To Be” I’ve ever seen, his performance is equally aggressive and vulnerable. Every facial expression and eye movement communicates tremendous pain and rage while hinting at sensitivity underneath his voice. Divine Eye stood proudly opposite Colman Domingo as Domingo channeled one of the most powerful performances of his career. Domingo commanded every scene he was in with tremendous power while exercising enough control not to overtake the rest of the cast. Colman Domingo and Divine Eye’s stories are told exquisitely with confidence and poise.
Sing Sing is a stunning cinematic achievement that highlights the power behind the RTA program. RTA participants have shown a recidivism rate of less than 3% compared to the 60% national average, and the film perfectly demonstrates how theater can aid in developing collaboration skills and restoring one’s sense of self. The character-work is tremendously strong, and Kwedar’s command of the screen is equally astounding. Sing Sing is an emotionally raw film that will leave you breathless.
