Rating: 10/10
As I was sitting in my AP Government class learning about prisons in America, something really triggered me — the death penalty. Taking the life of another just because of the wrong they’ve done seemed cruel, and never aligned with my beliefs. My teacher took a class survey to see what everyone thought was the right choice: to have or not to have the death penalty.
He asked the class to raise their hand if they thought having the death penalty was important, and a near-unanimous vote for this choice was cast. When he asked if anyone thought the death penalty was wrong, I was the only one who raised my hand — that triggered me even more.
My reason for being the singular person against the death penalty had nothing to do with my intellect, but every single person deserves some sort of rehabilitation to become a better person. Once someone is incarcerated, they are labeled for their crime forever, and that’s not OK. If that belief makes me the smartest in my class, then so be it.
But what if someone wants to break free from that label, to become something greater than the system they were put into? Sing Sing is the perfect example of this and demonstrates what rehabilitation can do in prison reform.
Nominated for three Academy Awards, including Best Actor for Colman Domingo, Best Adapted Screenplay and Best Original Song, Sing Sing has been on the radar for film-watchers for a while after premiering at the 2023 Toronto International Film Festival, where A24 picked up the rights to distribute. Viewers have finally been able to watch after a small theatrical run last July and another theatrical run on January 17th where it became the first film to ever be shown in participating prisons.
When Divine G — played by a glorious Colman Domingo — an incarcerated man in Sing Sing Correctional Facility and leader of the Rehabilitation Through the Arts, or RTA, program at his prison, begins scouting for new members, he encounters Divine Eye. Played by acting debutant Clarence Maclin, Divine Eye is a restless and difficult personality who has to find his place in the acting troupe as they prepare for their next big performance.
Director Greg Kwedar brings to screen the true stories of individuals who have come through the RTA program. As most of the cast are both first-time actors and formerly incarcerated individuals, directing is a challenge, but he does it with such ease.
This film is shaped like a documentary. Fly-on-the-wall camerawork captures the actors in their day-to-day lives, whether that be during their rehearsals or alone in their cells. For the most part, it really is a documentary; most of the actors are portraying themselves and their own experiences in the program. Being able to craft such powerful performances and build a story like this is breathtaking.
Domingo is a star. It’s taken too long for everyone to realize this, but I’m glad we’ve reached this moment in time to see him fulfill his true potential. He’s always been a supporting actor, playing small but important characters in films like If Beale Street Could Talk, Zola and Ma Rainey’s Black Bottom, but now he’s finally taking center stage and it’s beautiful to see.
He’s incredibly mesmerizing in this film. He’s able to switch tones so efficiently and it’s easy for the audience to know what he’s feeling. He’s the emotional centerpoint guiding us through all the characters’ emotions and it really pays to have someone like Domingo who can literally do it all acting-wise.
I can’t only talk about Domingo, though, the ensemble is truly one of the best casts we’ve seen this decade. Compromising incarcerated individuals who have been through the RTA program, channeling their past really helps embody who they are on screen. There’s such a joy in seeing them doing their warm-ups and acting like no one is watching, but needing to toughen up when there’s trouble too — it’s a double-edged sword that they use effortlessly.
Maclin specifically is incredible and explodes onto the screen with his rough-edged persona that adds a little bit of spice to the troop. The audience doesn’t know straight away what they’re getting with Divine Eye, but he stands tall against the others and proves to be as worthy as the others. Maclin deserves much praise and more work in the future.
What makes this film great, however, isn’t just the various casting or directing components that make it up: it’s the messaging
These people are in prisons, yet they still want to be better people. In mainstream media and political rhetoric, incarcerated people are portrayed as just bad people. But, this film is a great example of the alternative to that.
Rehabilitation is possible. People are able to be better if they choose to. Now, not every prisoner can become a good-standing citizen — some just choose a life of crime. But programs like RTA and other options and services need to be available to them. If people are able to find empathy for prisoners through these services, they should be given the opportunity to live a better life, as this film suggests. It’s incredible that we live in a time where films like Sing Sing allow for stories like this to be told.
These stories are important, they deserve our attention. Sing Sing is only one example but so much more work needs to be done in order for prison reform to happen. As for right now, I’m glad that we have a film like Sing Sing that can help start the narrative for change.
Joshua Abraham is a kinesiology junior and opinion writer for The Battalion.
