By George Kozera
SING SING opens with Colman Domingo performing a Shakesperean soliloquy directly to the camera with force and magnitude. It is a stunning achievement. We then see the actors leave to theatre to return to the notorious Sing Sing Penitentiary where we learn they are all part of the Rehabilitation Through the Arts (RTA) programme whose mandate is to put on plays as a part of their rehab. After choosing a prison yard bully (Clarence “Divine Eye” Maclin, playing himself) on a hunch to join troupe, their director Brent (Oscar nominee Paul Raci) gathers the prisoners to decide what show they will put on next. Deciding not to go the dramatic route once again, they all choose to write a comedy that incorporates time travel, a son looking for his mother, Ancient Egypt, a western, pirates and Freddy Krueger! Let the auditions and fun begin.
Director and Co-Writer Greg Kwedar (whose last movie “Jockey” I adored) had the unenviable task of maintaining the audience’s attention in mostly tight, contained quarters scenarios and relies heavily on extreme close-ups. I found these cinematic choices rewarding, if maybe a tad too redundant.
Other than Domingo and Raci, everyone in SING SING were formerly incarcerated prisoners many of them alumni of RTA and they all bring gravitas to their scenes. The chemistry between Domingo and Maclin is off-the-charts phenomenal. Whereas this movie may appear to come across as light entertainment, Kwedar does not shy away from the realities of prison life and one scene with the lead character in front of the clemency board was truly heartbreaking.
It is impossible to stress the impact SING SING has made on me. Despite some minor flaws, the performances resonated with me, hours after leaving the rapturously received world premiere that I attended.
SING SING screens at TIFF ’23:
Monday, September 11, 2:45PM – Scotiabank
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