An echo of gasps rippled through the traditional black theatre community when it was learned that the poster child of urban drama would present the big-screen adaptation of Ntozake Shange’s stage classic For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf.
Twenty years before Eve Ensler created the Vagina Monologues, Shange’s “choreopoem” resonated with women – black women, in particular – by shedding light on the struggles in life and love often suffered, but seldom spoken of.
How would Tyler Perry fare when the depth of his adaptations consists only of his outrageously popular, yet over-the-top slapstick Madea character?
Well, he tried.
In all fairness to Perry, For Colored Girls is by far the best cinematic offering that he’s presented to date. Those unfamiliar with Shange’s work will probably even enjoy it.
But unfortunately, the film fails to fully capture the glory of the theatrical piece.
Sadly, the fatal flaw in the film is its writing. Shange’s powerful prose is lost in translation during Perry’s effort to strategically place her narratives within the film. Awkward recitation disrupts the flow and impact of the poems and the screenplay muddles most of the powerful pieces amongst an overdose of melodrama.
Those unfamiliar with the stage production will be confused by the random moments of “poeticism” that interrupt the progression of the film. Those who hold Shange’s words dear will balk at the incomplete presentations – seemingly inserted as an afterthought from the body of work that comes together to create the play.
Throughout the screenplay, judgment and fault are imposed upon the characters –instead of Shange’s intent of allowing them to transcend their circumstances into places of healing, strength, victory and power. As he works to dramatize For Colored Girls for the sake of the big screen, Perry nearly suffocates the intent of the play.
Unrealized potential will be the final thought as hange fans exit the theatre – and how reexamining the screenplay (and being mindful of the progression of the times) would have made all of the difference.
Despite the cinematic hiccups, Shange’s play still manages to resonate within the film – thanks in part to the performances of veterans Phylicia Rashad and Loretta Devine, alongside legends-in- training Anika Noni Rose and Kimberly Elise.
Rashad’s presence is a force to be reckoned with in any medium – and film is no different. Her ability to nurture a dialogue and compel a co-star to rise to the expectation of the scene is brilliant. And Devine’s trademark bubbly comic relief provided For Colored Girls with a much-needed lighter tone.
Among the next generation of actresses within the film, Rose and Elise illustrate the bright possibilities in black Hollywood with their performances.
However, Janet Jackson, Thandie Newton (who replaced pregnant Mariah Carey in the 11th hour) and Kerry Washington failed to carry the emotional baggage required of their characters with conviction.
With all of its cinematic shortcomings, there is still a sense of triumph in For Colored Girls coming to theatres. Perry provides a platform for critical conversations between women on a host of topics – often relegated to closed doors and whispered telephone calls – that will ultimately lead to healing.
Furthermore, For Colored Girls proves that Perry is willing to move beyond the unfortunate box of blockbusters that made him a household name towards creating quality films of substance.
For Colored Girls is rated R with a running time of 121 minutes.
