In 1974, Ntozake Shange’s choreopoem “For Colored Girls Who Have Considered Suicide When The Rainbow Is Enuf” made its stage debut, combining poetry, dance and music, and most significantly, placing the black female experience center stage. In lyrical, honest, angry, funny and tender language, Shange’s “colored girls” evoked the feelings woven into the fabric of black female life in America. Within two years, the play became a Broadway sensation, won an Obie and Tony Award, and would eventually be produced in regional theaters throughout the country. Now, thirty-six years later, filmmaker Tyler Perry adapts this landmark work for the big screen, integrating the vivid language of Shange’s poems into a contemporary narrative that explores what it means to be a woman of color – and a woman of any color – in this world.
FOR COLORED GIRLS weaves together the stories of nine different women – Joanna, Tangie, Crystal, Gilda, Kelly, Juanita, Yasmine, Nyla and Alice – as they move into and out of one another’s existences; some are well known to one another, others are as yet strangers. Crises, heartbreaks and crimes will ultimately bring these nine women fully into the same orbit where they will find commonality and understanding. Each will speak her truth as never before. And each will know that she is complete as a human being, glorious and divine in all her colors.
As an actor, writer, producer, and director of films and stage plays, the New Orleans-born Tyler Perry began his career as a dramatist in 1992. When inspired by Oprah Winfrey to channel his creativity through writing, Perry put pen to paper as a method of healing the wounds that lingered from a painful childhood. His first production, entitled I Know I’ve Been Changed, hit the stage to rapturous reviews in 1997, and following a collaborative period with Bishop T.D. Jakes that resulted in the plays Woman, Thou Art Loosed and Behind Closed Doors, Perry flew solo to create cantankerous 68-year-old grandmother Mabel “Madea” Simmons (whom Perry played, in full drag) in I Can Do Bad All by Myself around 2000 A slew of Madea-based projects were quick to follow, and shortly thereafter Perry joined Grammy Award-winner Kelly Price for the play Why Did I Get Married?. His plays garnered countless fans thanks to Perry’s trademark practice of releasing them on home video. Throughout this period… read more
The performances were incredible, and in the year of The King's Speech, some of the performances in here were more worthy than some of the ones that ended up being nominated. That said, there are some problems... The direction is awkward in parts. I don't know what they were going for, but could have been smoothere. But overall a nice, poetic film. Maybe with a less comercial director than Perry.
Tyler Perry has an insane knack of melodrama. Always has. Here it's on display with sometimes sour uses of over-the-top cliches and contrivances. But somehow, through the strength of his cast and the ambitious (not to mention downright bizarre) direction he puts forth - the film works a very strange magic spell that has me returning to it quite frequently. A very moving, auteur work, no doubt - and beautiful.
This one surprised me. The performances are truly wonderful, and the characters are pretty fleshed out considering the limited screen time they get. As Perry does, the film verges into truly obnoxious melodrama at points and sometimes the monologues have trouble fitting in with the more realistic elements of the film. Still, it held my attention the entire time, and I must say I enjoyed it.
a very interesting movie that seems to be at war with itself. in some instances, i thought it was wonderfully moving, even if overly melodramatic. but it's definitely a manic/depressive experience watching it at times. some things i loved (being a fan of soap operatic flourishes and performances) while other things fell flat (whoopi goldberg's religious extremist character comes to mind). didn't hate it though.