SING SING
Directing: A
Acting: A
Writing: A
Cinematography: A+
Editing: A
Not to diminish the phenomenal performances or anything, but very early on in Sing Sing I thought to myself: I need to look up who the cinematographer was on this movie. It was Pat Scola, whose resume is rather diverse: he shot Pig (2021) as well as this year’s A Quiet Place: Day One. These were decently shot films, but honestly nothing truly special on that note. When it comes to Sing Sing, however, not only is it evidently by far the best film he has shot, but it should rightly put him in the sights of many talented directors to come.
If Scola doesn’t get nominated for the Best Cinematography, it will be a crime. Granted, there was no doubt a great amount of collaboration between him and this film’s director and co-writer, Greg Kwedar—here offering merely his second feature film, eight years after his debut, a film called Transpecos. (Side note: that film appears to have been fairly critically acclaimed in its own right, and I now wish I had even heard of it, let alone seen it.) But, it was Scola behind the camera, shooting a film set almost entirely, with the exception of the final scene, inside the maximum security prison that is this film’s namesake.
Few people would expect a film set entirely inside a prison to be shot so beautifully, but this becomes clear from the start of the story—and it sets us up for a beautiful story, based on a real theater program, and featuring a whole bunch of former inmates who had been a part of the program. This is the case with a majority of the cast, with the one notable exception of Coleman Domingo, whose own incredibly performance is undiminished by how much the inmate cast shines, especially Clarence “Divine Eye” Maclin—who plays himself. Many of this cast plays themselves, in a way never seen in film before, especially so successfully. A few of them play fictionalized characters.
Maclin is incredible. So is Domingo. The rest of the cast is astonishing, considering the behind-the-scenes details. Sean Dino Johnson, who both plays himself and is also a board member for Rehabilitation Through the Arts (RTA), which runs this program, gets a short monologue that is particularly moving.
Sing Sing could have easily been a documentary feature, and one just as memorable and affecting as a narrative film featuring these actors. But this film, as it actually exists, is far more in the spirit of the purpose RTA serves, which the film touches on: it teaches these men how to be vulnerable, how to harness their feelings in healthy ways, how to make it one vital aspect, among many, of their rehabilitation. Most crucially, it showcases these men doing exactly what they learned to do: act. This is an award-worthy ensemble if ever there was one. It’s too bad the Academy Awards do not have a “Best Cast” award—but the SAG Awards do, and they’d better take note.
In this story brilliantly fashioned to showcase all of this talent, John “Divine G” Whitfield (Coleman Domingo) is the unofficial ringleader, delving deep into these productions every season, but now hoping to present compelling evidence of his innocence at an upcoming clemency hearing. In one of the few parts actually played by established actors, the troupe director, Brent, is played by Paul Raci, playing a role similar to the one he played in the also-excellent 2020 film Sound of Metal. Clarence “Divine Eye” Maclin plays a version of himself as an inmate who signs up for the program, a man putting on airs as a gangster but with surprising knowledge of Shakespeare, but with significant insecurities once he is accepted.
In the first meeting he attends, Maclin puts forth the proposition that they put on a comedy, because they all have enough tragedy in their actual lives. Whitfield, who has written a script his hopes they will use, is a bit disappointed, but Maclin clearly has a point. Honestly, I mention this mostly because after seeing the bits and pieces of the time traveling comedy play Brent then writes, I really wish I could go see this play in its entirety.
Which is to say: Sing Sing absolutely nails every part of everything it sets out to do, from showcasing talent to telling a perfectly calibrated story that could have been corny or maudlin in lesser hands. At an hour and 45 minutes, even its runtime is perfect, after countless films of recent years, from blockbusters to dramas, becoming reliably overlong. The script, by Greg Bentley and Greg Kwedar—from a story developed by Kwedar and Clint Bentley along with both Maclin and the real “Divine G,” based on the book Break-in’ The Mummy’s Code by Brent Buell (the character played by Paul Raci)—is incredibly tight. It’s a work that could be studied as proof that extra time need not necessarily be taken to tell a profound story with lasting impact. Sometimes it’s limitation that bears perfection.
Sing Sing even gets its meta elements right, standing for both solid storytelling and growth through art at the same time. We see character development and human development at once, in real time. I haven’t even gotten how incredible it is to see an overused monologue from Hamlet performed in a way never seen before, from an unusual performer who delivers the lines with unique conviction and beautifully infusing it with a personality and background Shakespeare himself could never have dreamed of. Sing Sing is a miracle of a movie, gathering the parts of what should be tropes, and instead moving us all forward.
An “Eye” and a “G”: both divine.
Overall: A
