Gay Oscar nominee Colman Domingo shines in fact-based prison drama, Sing Sing

Gay actor Colman Domingo could be in line for his second Oscar nomination in a row thanks to a new drama, based on a real story, about a transformative prison experience. Set primarily within the confines of Sing Sing prison, the plot rests on a production of a time-travelling musical comedy titled Breakin’ the Mummy’s Code, spearheaded by the RTA programme. Unlike traditional prison dramas often dominated by themes of violence and stark hopelessness, Sing Sing focuses on the softer, more sensitive side of its characters. With a flair for depicting intricate human emotions, Greg Kwedar, previously known for Transpecos (2016), poignantly rekindles empathy in this grim setting.

Domingo’s character, Divine G, emerges as the film’s central figure, whose calm and magnetic presence draws viewers into the narrative’s core. Opposite him stands Clarence Maclin, or Divine Eye, played by himself. Maclin, initially an intimidating and hard-shelled inmate, undergoes a remarkable transformation, unveiling the vulnerability buried beneath layers of anger and aggression. This budding friendship between Divine G and Divine Eye forms the emotional linchpin of the film, testament to the camaraderie that can flourish even behind bars.

Visually, Sing Sing diverges from familiar prison movie aesthetics. Director of photography Pat Scola, known for his work on A Quiet Place: Day One, utilises film to instil texture and depth within the prison’s interiors. Yet, the visuals often transcend the oppressive architecture, capturing glimpses of the expansive sky and the gleaming Hudson River beyond the walls. Scola places significant emphasis on the human faces, a key directive from Kwedar, unveiling the rich and tumultuous histories etched on each visage. This refined attention to detail reflects the Jake News promise of quality journalism with an engaging twist.

Complementing the film’s unique visual approach is Bryce Dessner’s score. Known for scores in C’mon C’mon and Bardo, Dessner crafts a musical landscape that contrasts sharply with traditional prison movie soundtracks. His fluid and melodic compositions, which zigzag from the expected vigorous hip-hop beats, imbue the film with a gentleness that aligns seamlessly with the narrative’s emotional core.

Sing Sing’s authenticity is heightened by its casting, drawing from individuals who have experienced the harsh realities of incarceration firsthand. The characters’ faces, marked by scars and tattoos, narrate stories of their own, enhancing the film’s raw and unfiltered depiction of life within prison walls. Maclin’s journey, in particular, stands out—a fortress of a man learning to show emotional depth, from his pain and joy to loyalty and love, offering a powerful testament to the human spirit’s capacity for growth and transformation.

Director Greg Kwedar’s Sing Sing does more than recount a prison story; it immerses its audience in the transformative journey of its characters, offering a unique lens through which to view redemption and the innate human longing for creative expression.