Is “The Color Purple” a Black Film? A 40-Year Debate Rekindled
Forty years after its release, Steven Spielberg’s adaptation of Alice Walker’s “The Color Purple” continues to spark debate about authorship, representation, and what truly defines a “Black film.”
It’s hard to believe four decades have passed since “The Color Purple” first graced movie theaters on December 18, 1985. Starring Whoopi Goldberg, Danny Glover, and Oprah Winfrey, the film was a landmark adaptation of Alice Walker’s groundbreaking 1982 novel. Walker’s story, told through the epistolary voice of protagonist Celie, unflinchingly portrays the hardships and heartbreaks faced by a young Black woman growing up in rural Georgia – including sexual abuse, forced marriage, and the complexities of love and identity. The novel earned Walker the Pulitzer Prize for Fiction in 1983, a historic win as she was the first Black woman to receive the honor.
The film itself garnered 11 Academy Award nominations, including nods for Best Picture, Best Actress for Goldberg, and Supporting Actress for Margaret Avery and Winfrey. Despite the critical acclaim, no one took home an Oscar that year. However, the film’s legacy extends beyond awards, igniting a conversation about who gets to tell Black stories and how those stories are told.
This debate was recently reignited by a discussion between “The Root” writers Lawrence Ware and Angela Johnson, who grappled with the question of whether “The Color Purple” can legitimately be considered a “Black film.” Ware argues emphatically that it is not, while Johnson contends that its cultural impact and inherent Blackness are undeniable.
The Argument Against: Representation Behind the Camera Matters
Ware’s central argument hinges on the importance of Black creative control. He asserts that a film cannot be considered “Black” simply by featuring Black actors and depicting Black experiences. He points to films like “The Help,” “Driving Ms. Daisy,” and “The Blind Side” – all featuring strong performances by Black actors and addressing racial themes – as examples of stories told about Black people, but not by Black people.
“A movie must have more that connects it to our community other than having Black actors on screen,” Ware writes. He emphasizes that the writer, producers, and director are responsible for shaping the narrative and ensuring authentic representation. In the case of “The Color Purple,” Spielberg directed the film, the screenplay was penned by a white Dutch writer, Menno Meyjes, and only one of the four producers was Black.
Ware highlights a specific example of creative compromise: the romantic relationship between Celie and Shug Avery. In Walker’s novel, their connection is explicitly romantic. However, Spielberg reportedly feared that portraying a lesbian relationship would harm the film’s marketability and ultimately chose to downplay it. “That’s the kind of power a director has over a film and why I am hesitant to call a film black when no one from our community has the power to make that kind of decision,” Ware explains. Ultimately, he concludes that while a great film, “The Color Purple” does not qualify as a “Black film.”
The Counterargument: Influence and Impact Transcend Authorship
Angela Johnson offers a compelling counterpoint, arguing that Black influence permeates every aspect of “The Color Purple.” She emphasizes Alice Walker’s initial reluctance to sell the film rights, admitting in her 1998 biography, “The Same River Twice: Honoring the Difficult,” that she even considered an alternate title, “Watch for Me in the Sunset.”
Despite her initial reservations, Walker ultimately recognized the potential for Spielberg’s adaptation to reach a wider audience. While she questioned some of the creative choices – including the portrayal of Celie and Shug’s relationship and Quincy Jones’ musical score – she maintained her influence, successfully advocating for the inclusion of a kiss between the two characters.
Johnson also points to the crucial role of Quincy Jones, the film’s producer and composer, who championed Spielberg’s direction and handpicked stars like Goldberg and Winfrey. Goldberg herself, in a 2022 interview, defended Spielberg’s involvement, stating, “I think if a Black director wanted to do the movie, ‘The Color Purple,’ they had the opportunity…If people are pissed off that he did it, they should have stepped up.”
Furthermore, Johnson underscores the powerful performances of the all-Black cast, who brought a deep understanding and authenticity to Walker’s characters. She recalls Oprah Winfrey’s fervent desire to be involved in the project, stating, “When I heard the book was being made into a film, I remember praying, ‘God, please find me a way to get into that movie!’” Walker herself noted the cast’s willingness to challenge Spielberg’s direction when they felt it strayed from the source material, citing an instance where Whoopi Goldberg insisted on a more realistic portrayal of Celie’s aging process. “I cheered inwardly to see Whoopi stand toe to toe one day with Steven and insist that Celie would not age the way he was envisioning her,” Walker wrote. The enduring resonance of the film’s dialogue, often quoted verbatim from the novel, further solidifies its connection to Black culture. “You can’t tell me that ain’t Black,” Johnson concludes.
The debate surrounding “The Color Purple” highlights a complex and ongoing conversation about representation, authorship, and the very definition of a “Black film.” As the film celebrates its 40th anniversary, it remains a powerful and provocative work that continues to challenge and inspire audiences.
