I put off seeing this because I was sure Spielberg wasn't right for the material. And he's not, but he did create something of value: a classicist Old Hollywood-style film about a community/experience that Old Hollywood could never focus on so directly. It's like a Technicolor Ford film down to the rambunctious locals, but it embraces modernity instead of resisting it. If only it felt more passionate than dutiful.
Doesn't hold up very well, even dramatically and tonally off at times. Spielberg, why do you feel the need to whitewash history all the time? For real, so homophobic what he did here. Not cool. He should have waited five years and asked Spike Lee or Julie Dash to do it and produce it or something. Of course Spielberg had to take the glory of it all.
I can't help but feel this would have been a far better film if made by a black director. The melodramatic music ruins so many scenes, and the tone of the film oddly waffles between stark tragedy to kitschy comedy. On the positive side, Danny Glover demands the audiences attention in almost every scene, and there's no denying the powerful dinner sequence where Celie finally speaks without fear.
Surprisingly, the only Spielberg film I haven't seen took me a while to get to. Expertly crafted by Spielberg, with superb cinematography, and a surprisingly strong turn from Goldberg, backed by an excellent supporting cast. It's not without its flaws, including a tone that sometimes seems too comic considering the subject matter and an ending that drags on way too long, but a strong effort.
Quel est le propos de Spielberg dans cette oeuvre qui narre avec aisance et brio, l'histoire de deux soeurs noires des Etats-Unis entre 1908 et 1937. La misère et l'exploitation de la condition féminine noire semblent, dans ce film n'avoir aucune connotation réelle et politique avec les problèmes raciaux et les relations de force avec le Blanc, mais qu'une histoire "interne" entre Noirs. www.cinefiches.com
Durante años estuve sacándole el cuerpo a esta película porque me temía algo realmente abominable. En efecto, el maniqueísmo de los personajes llega a hacerse pesado (casi todos los hombres son retratados como tipos abusivos, desalmados e idiotas, mientras las mujeres tienen más espesor y complejidad), pero Spielberg demuestra su genio en muchas secuencias resueltas de modo sutil e indirecto.
Did I miss the point? Whoopi's way too green here, meandering through vignettes, giving little insight into Celie's soul. Spielberg's usual well-cooked emotionalism is strangely absent in a story that almost deserves it (thanks, Quincy). I'm a fan of passive protagonists who help us understand their surrounds but Celie learns little and connects with less on her moony adventures through systematic rape and abuse.