You must be adventurous, as I did not specify which version this review would be for. Is this the multi-Oscar nominated 80’s classic directed by Steven Spielberg that helped push forward the acting career of Oprah Winfrey, as well as help Whoopi Goldberg be taken seriously as a dramatic actress? or, is this a review of the 2023 musical adaptation brought to life with songs from the Broadway award winning musical that only managed one Oscar nomination for Danielle Brooks? Why can’t it be both?

In fact, this is kind of a review of both films. The Colors Purples, or however you feel like that should be written. Two films, one review. What they share in similarity runs right down to their availability of audio description. I did not get to see the musical in theatres, and sadly the VOD version does not have audio description. I thought perhaps it might be added later, which is what happened with Across The Spider-Verse, but that has yet to happen.

I did do both in the same day, and they are two very different films. Spielberg’s is incredibly sobering as it does not use music to hide the trauma felt by the women of the story, so often the grief and sadness lingers. The performances here are fantastic across the board, not just the aforementioned Winfrey and Goldberg, but even 80’s stalwart Danny Glover is exceptional. The problem is, that mAX is hosting this without audio description, and this has lots of sustained moments where people contemplate, or Spielberg captures themes visually, and they aren’t then translated to us. It’s also a little long, and despite any familiarity I had with the material after being a fan of the Broadway musical, I found it hard to actually follow this all the way. It is my first viewing, and I’m surprised that WB didn’t see the value in making this accessible, while they also have added content to MAX to help promote the new film, like a conversation led by Winfrey, who was a producer of both the stage musical, and the film adaptation of it.

The musical is radiant in every way. Even though it has the same lingering darkness in the subtext, like how Sophie sings ‘Hell No’ in response to potential domestic abuse, it has a lively pulse, and performers who not just act their faces off, but who melt your every fiber with their stunning vocals. Notably, Fantasia Barrino is one of the big standouts here, as she is exceptionally far beyond anything I could have imagined. People are upset about Margot Robbie’s “snub” for Barbie, but they should be more upset that Barrino was denied an Oscar nomination. Watch her try to play herself in The Fantasia Barrino Story, and then watch this and tell me she isn’t the living embodiment of Celie. She’s better at playing this character than she was playing herself.

Barrino isn’t just great in her exchanges with other cast members, but she’s absolute fire when she’s given the powerful ‘I’m Here’, which puts any doubt to rest as to whether or not she should be in this film over someone like Cynthia Erivo. For her part, Brooks steals the damn film with a tremendous supporting turn. I’ve been a fan of Brooks, and long wished she had been recognized for her stunning, truly gifted work on orange Is The new Black. This year presented four very deserving women with supporting actress nominations who had never had them before, and while I’m not sure they were all for the right performance, this one certainly is Brooks at her very best.

Bigger names Coleman Domingo and Taraji P Henson are actually really good too, but their reliability somehow makes them seem less impressive than their newer breakthrough counterparts. Henson has fire as Shug, a role I’m oddly connected to as I happen to personally know and work with the original Tony nominated actress for this role. Henson brings fire in ‘Push The Button’, and her chemistry in ‘what About Love’ really helps to push the queer context of the material further than Spielberg’s tame original. Domingo, who is nominated this year for playing the flamboyant and openly gay civil rights icon Baird Rustin, is in a complete 180. Not only is this openly LGBT actor incredibly convincing as a womanizer, but he’s also fierce in his character’s more devastating blows. Two performances that could not be more different, absolutely nailed by a consummate chameleon.

But since neither has audio description, there are missing moments, less in the musical but still missing. Physicalities can be so important in a film about abuse and forbidden love, as a lot of these actors performances are in what is not said, but is expressed. Plus, we all know Spielberg is the greatest of all time, so to not know how he’s handling each shot is just punishing a generation of people that were born blind after the films initial release. blitz was chosen to direct this vibrant new version after partnering with Beyoncé on several music video projects, and clearly handling that well. I’m very interested to know how he made different choices, but without audio description, who knows. My one saving grace is that I refuse to believe that months from now, when this finally debuts on MAX, it will have audio description.

but for now, these are unwatchable. Since there is a movie soundtrack for the new musical, I’d recommend just listening to that instead of trying to sit through a whole movie without audio description. plus, there are two cast recordings, one for the original Broadway cast, and one for the revival (which featured Brooks). So, you can listen to all those buttons being pushed.

Final Grades: Unwatchable

Projected Grade For The 1985 version: B+, A-, A

Projected Grade For The 2023 Version: B+, A-, A