For Colored Girls
“For Colored Girls” is Tyler Perry’s adaptation of the play
“For Colored Girls Who Have Considered Suicide When the Rainbow Is
Enough.” Like good theater, it’s more about the character development,
and the personality interplay, and this strong ensemble cast leaves some
really strong impressions:
given too freely, without expectation of reciprocity.
Love given too freely, without hope of intimacy.
Love withheld. Love
denied. Love misunderstood.
Innocence deflowered. Preaching
as a substitute for caring. Withholding
money to worship power. Asking
for money deceitfully. Mistakenly
thinking that acceptance will overcome abuse.
The guilt of doing too little because you were distracted.
Loving another even though she can’t give you the only thing you
really want from her. Taking
advantage of an absence of suspicion. Throwing
caution to the winds, and reaping the whirlwind.
Making one little mistake that keeps multiplying on itself.
Rejecting family at the expense of losing your own sense of self.
Considering that God may be within.
Calling someone you care about a “devil” because you want them to
change the way they think about you. Considering
what it means to be a woman of color who’s visible, who owns her own
emotions, and deserves her own loyalty.
Sure, it feels overblown in places.
Just as in a musical, when all the action stops so that somebody can
sing, so here, all the action stops so somebody can make a speech, and
recite some poetry. It’s
going to feel “stagey”; even pretentious, at times, and “over the
top” at other times. But
it’s a powerful confluence of film and theater in one medium.
Those who are lovers of both will find here plenty to engage all the
emotions. Even though they do
grieving more than rejoicing, still, it feels triumphant, because here are
women who live perilously close to each other, learning to accept both
themselves and one another, as if there is something about their commonality
that is stronger than their individuality.
It certainly isn’t for everybody.
But for those enamored with dramatic performances, there’s plenty
of emotional wallop here. As
well as stark social commentary, and a kind of naked introspection that is
breathtaking in its ferocity.
Dr. Ronald P. Salfen, Pastor, Grace