“Sing Sing” presents a powerful immersion in Rehabilitation Through the Arts

Sing Sing. The words evoke images of Jimmy Cagney in “Angels with Dirty Faces.” Director Greg Kwedar’s “Sing Sing” bears little resemblance to Hollywood’s prison films, all to its credit. For Kwedar and incarcerated men prove the marvelous value of their Rehabilitation Through the Arts program, begun at the upstate New York Sing Sing Maximum Security Prison in 1996.

Contemporary events unfold with a theater group: auditioning others, casting, deciding on a comedy they’ll write and perform, rehearsals, debates, and a performance. Solid dialogue reveals their personalities as the men reach out and struggle to understand each other. All of this occurs in close quarters dotted with outdoor breaks, exchanges of deeply heartfelt, poignant revelations more honest than most experience in the external, open-air world. Memorable, it invites careful observation and insights into complex individuals.

While none of the actors are currently incarcerated, most previously served time as indicated in the end credits with the “himself” designation for several characters. Leading the film group, Colman Domingo plays John “Divine G” Whitfield, erroneously convicted in real-life. As in “Ruskin,” which he shot right after the quick, eighteen day shoot of “Sing Sing,” Domingo gives a dynamic performance. In interviews, he describes his approach as one of respect, listening to, and learning about these men. Superb in supporting roles are: Clarence “Divine Eyes” Maclin as himself, Sean “Dino” Johnson also as himself, and Paul Raci as the director of the prisoners’ play.

Technically, shot on Kodak film as opposed to digitally, the richness of the visuals enhances every scene, adding depth and texture as only celluloid can. Cinematographer Pat Scola prefers to lock down his camera but, at opportune moments, moves in slowly on subjects, capturing dramatic and, occasionally, direct address in closeups. Because sparingly interspersed, they deliver powerful moments. Equally impactful, the alternation of music with silence articulates a prison world of dense sound. It's tempting to forget that restrictive environment with the focus on this talented theater group; but moments reassert the confinement: an alarm in the yard, cells tossed, cafeteria meals, and a parole hearing.

Based on John H. Richardson’s 2005 article “The Sing Sing Follies” and Brent Buell’s “Breakin’ the Mummy’s Code,” this extraordinary film reinterprets what it means to be incarcerated: men with talent sharing sophisticated emotional lives, extending support to others, and with an astonishing 3% recidivism rate versus the average 60%. “Sing Sing” is available now.