Last Saturday, at Maine Film Center in Waterville, I think I just might have seen the best movie of 2024. A bold statement, I know, as many movies have yet to be released. But Sing Sing was such a good movie that it would take something really special to surpass it.
As the title suggests, Sing Sing takes place in the well-known prison on the banks of the Hudson River in New York. The story revolves around Divine G, played by the great and good Coleman Domingo, who has been imprisoned for a crime he didn’t commit. Along with other inmates, he belongs to a theater troupe that provides creativity and meaning in a place where these qualities are in short supply. The plot of this movie is based on the real-life story of theater in prison, made possible by a program called Rehabilitation Through the Arts (RTA).
A younger inmate, Divine Eye (Clarence Maclin), joins the group and challenges the authority of the men who are seasoned members of the troupe. With only a bit of grumbling, the other men give way to Divine Eye and his desire for comedy rather than the drama the men usually perform. Hence Breakin’ the Mummy’s Code is born. It soon becomes clear that the troupe members are doing this out of generosity, hoping that Divine Eye, a sullen young man and a drug dealer, will be nurtured by art the way they have.
As the movie progresses, a friendship develops between Divine G and Divine Eye. They talk about where they came from, the roles they were given, and how they were boxed in by them. Acting allows the two men to see that there might be different roles for them that were not clear (or available) when they were younger.
Unlike most prison films, there are no scenes of brutality in Sing Sing. Instead, there are scenes of everyday incarceration where the men’s cells are searched, and there are security checks.
Even more surprising, in Sing Sing there are moments of pure joy as the men rehearse and become friends with one another.
In the wrong hands, Sing Sing could have been a horribly sentimental movie with swelling music as the inmates are redeemed through art. However, the directing, the script, and the acting are so tight that the film never becomes maudlin. At the same time, Sing Sing has heart, and I was rooting for both of the Divines in this film.
As the credits roll, viewers learn that most of the actors in Sing Sing are men who were formerly incarcerated and members of the RTA program. This provides a note of poignancy and authenticity to this fine film.
Readers, if you have a chance, go see Sing Sing if it comes to a theater near you. If it doesn’t come to a theater near you, be sure to see it when it is available through streaming.
























































