Is ‘The Color Purple’ a Black Film Debate Emerges

Forty years have passed since “The Color Purple” premiered in theaters on December 18, 1985. The film, starring Whoopi Goldberg, Danny Glover, and Oprah Winfrey, was an adaptation of Alice Walker’s 1982 novel, which explores the hardships and heartbreaks faced by the protagonist, Celie, as she chronicles her life in rural Georgia through a series of letters to God. Walker’s novel earned her the Pulitzer Prize for Fiction, a historic achievement as the first ever for a Black woman.

The film garnered 11 Academy Award nominations, including Best Picture, Best Actress for Whoopi Goldberg, and Supporting Actress for Margaret Avery and Oprah Winfrey, though it did not win any awards. The film’s release sparked debate regarding its classification as a “Black film,” particularly concerning the involvement of a white, male director, Steven Spielberg.

Lawrence Ware: The 1986 film The Color Purple is not a Black film

Lawrence Ware argues that a film must have more than just Black actors to be considered a “Black film.” He emphasizes the importance of Black writers, producers, and directors who shape the narrative and ensure authentic representation. He cites films like The Help, Driving Ms. Daisy, and The Blind Side as examples of works featuring Black talent but lacking Black creative control.

Ware points to Steven Spielberg’s direction and the fact that the screenplay was written by a white Dutch man, Menno Meyjes, as key reasons for his stance. He highlights the alteration of the relationship between Shug and Celie, changing it from a romantic one to a friendship due to concerns about marketability, as an example of directorial power influencing the story. While acknowledging the film’s quality, Ware concludes that it is not a “Black film” due to the lack of Black creative authority.

Angela Johnson: Black influence is all up and through “The Color Purple”

Angela Johnson contends that “The Color Purple” is undeniably a Black film, citing Alice Walker’s influence, Quincy Jones’ involvement, and the cast’s dedication to the source material.

For Alice Walker, Art Was Deeper Than Race or Gender

Walker initially hesitated to sell the film rights but ultimately made peace with the adaptation, even insisting on the inclusion of a kiss between Shug and Celie. She expressed a belief that art transcends race and gender, stating that director Steven Spielberg was “more than” a white man.

Spielberg May Have Directed It, But Quincy Jones Was Calling Plenty of Shots

Johnson highlights the significant contributions of producer Quincy Jones, who scored the film, handpicked key actors like Whoopi Goldberg and Oprah Winfrey, and influenced Spielberg’s direction. Goldberg herself defended Spielberg’s involvement, suggesting that others should have “stepped up” if they opposed his participation.

The Cast Was All-In

The cast, including Oprah Winfrey and Whoopi Goldberg, were ardent fans of Walker’s novel and actively participated in shaping the film. Winfrey recounted praying to be involved in the project and was not shy about challenging Spielberg’s vision when necessary. The cast’s influence is evident in the faithful adaptation of Walker’s dialogue, with memorable lines resonating with audiences.

Johnson concludes that the film’s essence is undeniably Black.