A moving tale of rehabilitation, featuring many convicted criminals playing themselves, it is based on a theatre group at the notorious Sing Sing prison.
Sing Sing is a maximum-security jail for men, some 50 kilometres north of midtown Manhattan, in New York City.
The central character is John “Divine G” Whitfield (Colman Domingo), a foundation member of the theatre troupe Rehabilitation Through the Arts (RTA).
He’s been incarcerated for second degree murder and weapons possession.
Appeals against his sentence have been exhausted.
While inside, he has dedicated himself to learning and growing.
Apart from acting, he writes satirical plays. He has also studied the law and, importantly, helps other prisoners.
His closest inmate – who acts alongside him – is Mike Mike (Sean San Jose), who has no hope of release, but finds coping easier with members of the group.
The company has just mounted a successful Shakespeare production and is now moving onto its next project.
Whitfield suggests bringing into the fold a newcomer, hardheaded drug dealer Clarence “Divine Eye” Maclin (who plays himself).
When it comes to choosing the piece they are going to perform, Maclin comes up with the idea of a comedy, which is a significant U-turn for the troupe.
Director Brent Buell (Paul Raci) listens to the suggestions of the inmates that are part of RTA and comes up with a unique proposition.
He agrees to write a time travel piece involving everything from Ancient Egypt to pirates, Old West gunfights, the Black Plague and Roman gladiators.
While Maclin is at first dismissive of the warmup exercises Buell is big on, clashes with Whitfield and is reluctant to let down his guard, time changes that.
Whitfield offers to help Maclin prepare for a parole board hearing, while he himself is facing a clemency hearing.
There is a huge ring of truth about Sing Sing and, I dare say, that is because what is portrayed is real.
It is based on a 2005 Esquire article, titled The Sing Sing Follies by John H. Richardson, and the musical revue Breakin’ The Mummy’s Code by Brent Buell.
The story is by Clint Bentley, Greg Kwedar, Clarence “Divine Eye” Maclin and John “Divine G” Whitfield.
Bentley and Kwedar co-wrote the screenplay, which Kwedar directs.
In short, Sing Sing is about hope in a tough environment, where hope is in short supply.
RTA enables prisoners to get more in touch with their feelings, or as one says in the movie to learn to become human again and it succeeds in doing so.
I appreciated the individual characterisations and the interplay between the players.
As Whitfield, Colman Domingo is a towering force for good in the film. Sean San Jose, as Mike Mike, is inspired by him.
Clarence “Divine Eye” Maclin brings a decided edginess to his role, a contrast needed from a dramatic perspective.
As their mentor Buell, Paul Raci provides his charges with the opportunity to step outside their physical barriers.
Near the end of the movie, we also get to see file video footage of the real RTA performers doing their thing on stage.
Just like in the motion picture itself, some are better at their craft than others.
Regardless, the truth is that Sing Sing mixes darkness and light, presenting a different side of imprisonment.
It is an entertaining and elevating slice of life piece.
I leave you with this tidbit, the reality is that the RTA program at Sing Sing has worked remarkably well.
While the US national recidivism rate stands at more than 60 per cent, less than three per cent of RTA graduates return to jail.
Rated MA, Sing Sing scores an 8 out of 10.
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