The Heartfelt Generosity of Sing Sing

Early in the film Sing Sing , a group of inmates at the maximum-security prison Sing Sing gather for a brainstorming session. They are part of the Rehabilitation Through the Arts (RTA) program and must pick their next play to stage. One of the inmates suggests creating an original comedy. The group hesitates but gradually starts pitching ideas: cowboys, ancient Egypt, and even Freddy Krueger. Each member gets more enthusiastic, and the ideas keep flowing.

Sing Sing is filled with scenes like this—moments where creative exercises spark camaraderie among incarcerated men. Based on the real-life RTA program, the film portrays art as a healing force. While the idea that art can bring clarity and connection may not be groundbreaking, Sing Sing stands out for its empathetic depiction of every character. It’s a tender exploration of vulnerability, a quality often suppressed in prison.

The movie’s warmth is partly due to its casting. Most of the actors are RTA alumni, with only a few recognizable faces like Colman Domingo, who plays aspiring performer and playwright John “Divine G” Whitfield, and Paul Raci, who plays the program’s director, Brent. The plot is rooted in reality, focusing on the friendship between Divine G and his fellow inmate Clarence “Divine Eye” Maclin. Maclin portrays a version of himself, while the real Whitfield makes a cameo appearance.

When the movie starts, Divine G and Divine Eye are worlds apart. Divine G is a seasoned RTA member studying Shakespeare and functioning as Brent’s informal assistant director. In contrast, Divine Eye is feared in prison and new to the RTA, struggling to express his emotions. Slowly, as they work on staging their latest play, Breakin’ the Mummy’s Code —which includes cowboys, ancient Egypt, and Freddy Krueger—the two bond. This play is based on an actual production by the RTA.

With many real-life details and scenes shot inside a prison that housed the RTA alumni, the film often resembles a documentary. Director Greg Kwedar captures the men in their cells and workspaces, listening to them reminisce about life before prison or joke about their roles. The film avoids dramatic clichés common in prison dramas, instead focusing on the men’s inner lives. The pacing is slow, with gradual zooms and close-ups, creating a meditative atmosphere. The score by Bryce Dessner of The National enhances this effect, urging the viewer to pay attention to small details, like how Divine G and Divine Eye decorate their cells.

However, Sing Sing does stumble at times. Some scripted dramatic moments feel forced, and certain lines, like a character mentioning that “talking about feelings is something men don’t get to do often,” come off as heavy-handed. But Domingo and Maclin deliver fine-tuned performances that anchor the film, showing that the RTA is more than just an extracurricular activity for their characters.

For Divine G, convicted of a homicide he didn’t commit, the RTA is a lifeline. He’s spent years fighting appeals and working with innocence projects to little avail. Being part of the troupe keeps him from falling into self-hatred. For Divine Eye, the program is a means of honest self-expression. Playing Hamlet in the play helps him access a side of himself he had buried under an intimidating exterior.

Perhaps the most striking aspect of Sing Sing is its focus on the inmates’ experiences with their new production. The film doesn’t dwell on how unusual the program might seem to outsiders. Instead, it takes the inmates’ creative journeys seriously. Brent repeatedly tells the group to “trust the process,” reminding them to focus solely on their work. Sing Sing immerses its audience in the RTA’s endeavors, showcasing a world deserving of attention.

Source: The Atlantic