For Colored Girls: When The Director Is Just Not Enough
An Opinion By Isoul H. Harris
I have been wrestling over my opinion of Tyler Perry's adaptation of Ntozake Shange's iconic stage play/choreopoem For Colored Girls Who Have Considered Suicide /When the Rainbow is Enuf for the past few days. I attended a screening with anticipation and anxiety. I read Shange's host of poems earlier in the day for the first time.
Thank God I did.
If I had not familiarized myself with her often eloquent and frequently volatile verses, I would have thought For Colored Girls was simply a Tyler Perry Production, albeit a better one, but a Perry production nonetheless. The director has amassed unfathomable wealth and power with his catalogue of stage plays and movies. His traveling slapstick was his vehicle to Hollywood and now his influence enables him to have his pick of the Afro and Anglo talent litter. From Cicely Tyson to Phylicia Rashad, Jill Scott to Sanaa Lathan, Whoopi Goldberg to Kathy Bates, he's gone from hiring no-name players on the chitlin circuit to directing Oscar and Tony winning actresses. His ascension is nothing short of miraculous, however the work severely is.
"Tyler's a very profound writer, and I think he's done a wonderful job", Janet Jackson has said of Perry's film version.
Oh, Janet.
To his credit, Perry did an incredible job of constructing back-stories and sub-plots for the female characters that were nameless and only identifiable by their assigned color in the poems. Janet, the Lady in Red, plays an extremely cold and detached magazine editor, a la The Devil Wears Prada's Miranda Priestly, sans the sardonic wit and impeccable sartorial flair. Jackson (full disclosure: one of my favorite performers since childhood and still my most fun interview to date) is a multi-layered woman, she has been acting, singing and dancing since her adolescence, but her performance in For Colored Girls is just as disconnected as her film character is from life. Even her pivotal monologue, where you learn her fate, leaves you feeling just as empty as the cold and uninviting New York penthouse she inhabits with her husband, whom we are to be believe is the source of her problems. However, it seems to me, her character is just as much to blame, but in Perry's frequently one-dimensional, Black female empowered world, men--while all the time beautiful (and shirtless)--are often regarded as sexual and abusive artillery incessantly targeting the bullet-proof souls of their embattled feminine counterparts. Jackson's lackluster performance has less to do with her skill than it has to do with Tyler's lack of writing and directing prowess.
Case in point: Whoopi Goldberg. A phenomenal, articulate and highly talented, Oscar-winning actress. As the Lady in White (a new character interjected by Perry's inevitable creative license) she plays the mother of the Lady in Orange and Lady in Purple, played by Thandie Newton and newcomer Tessa Thompson, respectively. She is a religious fanatic, entangled in a cult that has separated her from not only her family, but also reality as a whole.
Goldberg, who displays her thoughtful and careful choice of words daily on The View, is surely capable of transferring that quiet, solicitous energy to a character. However, her performance is parody. She delivers the typical view of a religious zealot: ineffectively evangelizing with erratic and compulsive behavior (she is also a hoarder--I was secretly wishing Neicy Nash would pull a Kanye and pop on screen). I cannot help but think someone else, like a Sophie Okonedo, would have brought a calm and understanding to the role, consequently earning a needed sympathy from the audience for the character. Instead, Goldberg lampoons and lavishes on stereotype.
Ntozake Shange's poetry embodies desperation, insecurity, love and power all at once. Perry's biggest feat was to interject these now legendary monologues into a film--a medium dependent on dialogue. These monologues are based in figurative language, yet Perry delivers it as literal dialogue. At times, he succeeds. The majority of the time, he doesn't.
The performances save this adaptation. Rashad is the nosey, but caring and wise neighbor. She has shown she can play strong matriarchs since erupting on the small screen as the vibrant, smart and irrepressible Clair Huxtable. Now, with her award winning work with August Wilson's canon and Kenny Leon's productions, she has added another dimension to what it means to be a Black woman and especially a wife and mother to black men. Luckily for Perry, she continues her journey in For Colored Girls.
Anika Noni Rose (Dreamgirls,) is spectacular as The Lady in Yellow. She brings a beauty and unrelenting humanity to her character and is even more spectacular when an unfortunate occurrence strips her of it. Of course, Kimberly Elise is excellent. She is tortured soul like no other (maybe one day we will learn why). Michael Ealy, playing a mentally ill war vet, is amazing. There is lots of darkness behind those light eyes.
In the same way that Tyler Perry went to the extreme of admitting to the world about his father's physical abuse on Oprah, yet stopping at a real admission as to the origins of it, he fails to go all the way with this film.
Shange told thegrio.com recently that she finds few flaws in Perry's film version. "I think he did as well as to be expected. To him who is given much, much is expected. I think all the actresses performed remarkably well. I think Tyler directed them well, because there were very few flaws I could find in the acting, so that's his work and their work."
Shange's words are as diplomatic as they are probably sincere. She has admitted before that she let the women in her most famous piece years ago. They are no longer hers and are for the world to dissect and explore now. Not her. "I haven't seen those [women] in 20 years. I don't know who those people are, they don't know me."
But, what I indeed know for sure: while Shange may not know those women any longer, I would dare say, after all these years of helping females (and men--even President Obama references For Colored Girls in his first book Dreams of My Father) they deserved someone who could have better delivered their voices and stories to the masses. If you have not read the original, please do. This is not Shange's play. It's Perry's vision. And, while oftentimes laudable, it's also laughable (even among the heart-wrenching drama).
Isoul H. Harris
Written by: Isoul Harris