By Steve Crum

There has never been a prison movie like Sing Sing. However, Director-Screenscribe Greg Kwedar’s heartfelt drama perfectly fits within the sub-genre of American Prison Films. The traditional prison flick was established with 1930’s The Big House. (A year later, Laurel and Hardy hilariously parodied with Pardon Us.) Dozens of “Big House” stereotypes followed, including, egad, the wildly titled 20,000 Years in Sing Sing. More recent titles re-established the genre with Escape From Alcatraz and the widely regarded The Shawshank Redemption.

2024’s Sing Sing is cut from a different inmate cloth. 

It looks and feels differently. Kwedar utilizes closer to a cinema vérité storytelling technique. In its documentary-reminiscent style, the focus is on stark characterizations rather than—say—planning for a breakout or violence involving the warden. The many facial closeups serve the purpose of knowing and caring about these cons. 

The fact-based story’s main character is John “Divine G” Whitfield, brilliantly portrayed by Colman Domingo. He is an innocent man who has been wrongly found guilty of murder and now jailed at Sing Sing Correctional Facility (located in Ossining, NY). Divine G is also a driving force for the prison’s innovative RTA (Rehabilitation Through the Arts) Program. Plus he is the star actor and playwright. As such, he is the primary recruiter for new members to join the acting troupe. The very popular small group truly love their theatrical work and regularly perform plays and cuttings by the likes of Shakespeare to Divine G. Add Brent Buell (Paul Raci) as a civilian who volunteers to direct and write many of the plays. Costuming, sound and lighting add to the mix. He works alongside Divine G. in getting the casting, rehearsals and presentations to the inmate population. This all occurs in the prison’s gymnasium, which includes a small stage. 

Running 105 minutes, Sing Sing’s drama balances the member recruiting, particularly regarding the reluctant Divine Eye (Clarence Maclin), with the personal challenges of cast members—like parole issues and stage fright. It often feels like we are witnessing a play within a play. Yet that irony is so compelling and believable. 

Speaking of irony, most of the main cast members are actual former inmates at Sing Sing. That includes Maclin, who turns out to be a fine actor. And current convicts are seen as extras. The film itself becomes a rehabilitation influence. The cinema vérité technique also extends to the director’s use of a handheld 16mm camera; and utilizing Sing Sing and two other prisons as shooting locations. (The limited budget had much to do with those choices.) 

Sing Sing is sensitive without being saccharine—sometimes elating, sometimes tearful. It deserves accolades. 

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GRADE on an A-F Scale: A-