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    Taraji P. Henson on Almost Walking Away from ‘Color Purple’

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    Before things started to click for Taraji P. Henson, she sought career counseling from the man upstairs.“I had a talk with God a long time ago when things didn’t pop,” she said. Invoking the women she had watched as a child, like Carol Burnett, Lucille Ball, Bette Davis, and Diahann Carroll, she told him, “I want longevity and work that matters.”This, Henson has had: At 53, she is an Oscar-nominated actress with a long career that includes films like “Hidden Figures,” “Hustle & Flow” and “The Curious Case of Benjamin Button.” She also spent six seasons playing the music-industry matriarch Cookie on the Fox series “Empire,” a juicy role that netted her a Golden Globe and Critics Choice Award.But she is candid about the frustrations she still faces in an industry that undervalues Black actresses. “The fact that I made it through is a blessing because a lot has happened,” she said, noting that she had to step away from work last year when things got to be too much. A monthlong trip to Bali helped to recenter her, as did attending to her successful beauty brand, TPH.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

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      ‘The Color Purple’ Tips Its Hat to Classic Black Musicals

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      The new movie has so many references to Hollywood gems like “Stormy Weather” and early jazz shorts, it can be viewed as a Black film syllabus.Even when Hollywood saw little use for Black performers other than as mammies and butlers, the musical genre, a storytelling mode composed of magical realist fantasy and hoofing artistry, provided space for Cab Calloway, Lena Horne and Dorothy Dandridge to manifest their glamorous glow. Through rapturous songs, sung in resplendent gowns and tailored tuxedos, the promise of Black liberation was heard.The genre’s possibility for emancipation is showcased in the latest film version of “The Color Purple,” whose origin derives from a story of perseverance and sisterhood that first found acclaim in 1983, when its author, Alice Walker, won the Pulitzer Prize for fiction. Within two years of Walker’s success, Steven Spielberg directed an acclaimed big-screen adaptation of her novel. By 2005, a staged musical of “The Color Purple” appeared on Broadway. Now, the Ghanaian filmmaker Blitz Bazawule is shouldering the book’s legacy, directing a cinematic adaptation of the Broadway musical.The director Blitz Bazawule narrates a sequence from the musical, featuring a performance by Taraji P. Henson.Ser Baffo/Warner Bros PicturesBazawule’s “Color Purple” aims to grant Celie (Fantasia Barrino-Taylor) the kind of interiority that makes visible her resiliency against abject trauma. Raped during childhood by the man she thought to be her father, then separated from her children — the results of his assault — Celie is forced into marriage with the abusive Mister (Colman Domingo). Her sister, Nettie (Halle Bailey), bids goodbye, departing to Africa. Mister’s son Harpo (Corey Hawkins) and his wife, Sofia (Danielle Brooks), become Celie’s only friends. But a chance at real love arrives when the sultry singer Shug Avery (Taraji P. Henson), Mister’s old flame, returns to town. Shug and Celie’s developing physical attraction, along with Nettie’s letters, allow Celie to create grand worlds in her head.Celie’s boundless imagination mirrors the continued influence of what Bazawule called “the universal Black cadence,” how an ordinary shuffle or a game of patty cake can become a song. That practice imbues “The Color Purple” with an inventiveness to empower Celie’s story, positioning the arts as an important language for resistance and a necessary tool for Black people to be more than vessels for trauma.“I think music gives Celie the kind of agency we’ve never seen her have before,” Bazawule said during an interview at the Mandarin Oriental in New York.The director Blitz Bazawule, top, with Henson, left, and Burrino.Eli Ade/Warner Bros.Early Black musicals like “Porgy and Bess” and “Swing!” are examined in Arthur Knight’s book “Disintegrating the Musical: Black Performance and American Musical Film.” His analysis is drawn from W.E.B. DuBois’s belief that music is an essential element of Black identity. The control of that gift, therefore, is crucial, and the musical — as a locus for song, fashion and romance — becomes a strategy against the oppression faced by Black people across America.By visualizing Celie’s inner thoughts and her yearning for independence, Bazawule not only retools the genre’s language of resistance. He also provides audiences with an integral Black film syllabus.Elisabeth Withers-Mendes, center left, as Shug Avery and LaChanze as Celie in the 2005 Broadway musical version of “The Color Purple.”Sara Krulwich/The New York Times“Our work is only understood most clearly when it’s part of a continuum that is built. It’s a language,” Bazawule said. “But you have to know the language to understand what we’re doing.”Bazawule’s influences on the film are varied, including more contemporary musicals like “Idlewild” and “Dreamgirls,” the drama “The Last Temptation of Christ,” and studio-era musicals like “Hallelujah” and “Cabin in the Sky.” The 1932 musical short “Pie, Pie Blackbird” is another reference.The larger-than-life sets used in Aubrey Scotto’s jazz short, “A Rhapsody in Black and Blue” (also 1932) come to mind during a moment of romantic whimsy shared by Celie and Shug. When Celie sings “Dear God — Shug,” she imagines her and Shug on a giant, spinning gramophone. Rather than wholly relying on computer-generated effects, the production designer Paul D. Austerberry sought to marry fantasy with reality by constructing an actual 22-foot diameter record and an enormous needle arm.Nina Mae McKinney in the short film “Pie, Pie, Blackbird.”Warner Bros.The tension rises during the film’s lustful juke joint scene. For this sequence, not only does Shug arrive in grand style — on a barge floating across a swamp — but the costume designer Francine Jamison-Tanchuck also fashioned Shug’s red dress to mirror the allure of Dorothy Dandridge in “Carmen Jones.”“I wanted Shug to look sexy,” Jamison-Tanchuck said.In a nod to the diverse rhythms in the Black diaspora, the choreographer Fatima Robinson orchestrated the scene’s varied dancers, bedecked in dazzling suits and luscious dresses, to use Daggering, a sizzling Jamaican dance.“I wanted to create moves where we touch each other and we hold each other,” said Robinson. “It’s something I feel, as Black people, we don’t see enough.”Celie’s imaginative bid for freedom peaks when she and Shug abscond to the Capitol Theater in Macon, Ga., where they watch “The Flying Ace” (1926). As they view the film, Celie’s mind conceives of a lavish Art Deco ballroom recalling the 1943 musical “Stormy Weather,” which starred Horne. There’s an orchestra dressed in white tail tuxedos (a reference to Calloway), but instead of the high-flying Nicholas Brothers splitting down the steps, Celie and Shug descend toward each other. While the scene takes place in Celie’s mind, its fantastical setting doesn’t render her feelings or Shug’s reciprocation any less real. The power of the musical genre is in its ability to make any person, no matter her background, the captain of her world.For Bazawule, who remembers selling CDs on the street to afford tickets to art house theaters in New York, Celie’s cinematic escape from oppression has deep personal resonance.“I figured if Shug could bring Celie into that world, it would open her mind,” he said. More

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      Watch Taraji P. Henson Sing in ‘The Color Purple’

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      The director Blitz Bazawule narrates a scene from the musical, featuring the star performing as the dynamo Shug Avery.In “Anatomy of a Scene,” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series on Fridays. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel.Shug Avery knows how to make an entrance.The sultry nightclub singer lights up a room, and a swamp, in this scene from “The Color Purple,” the film musical adaptation of Alice Walker’s novel. At the beginning of the sequence, a performance of the song “Push Da Button,” Shug (Taraji P. Henson), wearing a shimmering red dress and a feathered headdress, arrives at a juke joint on a barge.The director Blitz Bazawule, narrating the sequence, said that his production designer, Paul D. Austerberry, suggested shooting it on location, rather than on a soundstage. They found a swamp in Georgia that they drained and refilled, to build the juke joint in which Shug performs.Bazawule said that it took two weeks of rehearsal to figure out the blocking, with choreography by Fatima Robinson. It was “very important that we gave Taraji an opportunity to shine,” he explained. Henson does all of her own singing in the scene, having taken vocal lessons to prepare for the role.An idea for a dance break while the lights are shut off came to Bazawule when he was on set early one day, before shooting, and saw the environmental lights on. “The blue light started to bleed through,” he recalled. “I said to myself, ‘I think that’s it. If we can go from light to darkness this way, I think we could have something special.’”Read the “Color Purple” review.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More

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      The Great Experiment That Is ‘The Color Purple’

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      A new adaptation shows how rich Alice Walker’s novel is and how the source material can lend itself to unconventional storytelling.Last month, I saw something I hadn’t seen in two decades of moviegoing: three Black-directed films in one week.I watched Blitz Bazawule’s adaptation of “The Color Purple,” a musical about a female survivor overcoming sexual assault and domestic abuse; the concert film “Renaissance,” directed by and starring Beyoncé; and “Origin,” Ava DuVernay’s dramatization of Isabel Wilkerson’s best-selling book “Caste.” Though each is starkly different in everything from story to aesthetic vision, my happenstance of seeing all three so close together revealed their shared interest in telling stories about African American history in new ways.Beyoncé remembers the AIDS crisis of the late 1980s; DuVernay recognizes early African American researchers of race relations, like Allison Davis, Elizabeth Stubbs Davis and Alfred L. Bright; and Bazawule looks at a 40-year period in the life of a Black woman living through Jim Crow and the Jazz Age.That chance week of movies also allowed me to reflect on the unprecedented journey and ultimate cinematic triumph of “The Color Purple.” Starting in rural Georgia in the early 20th century, the story follows Celie, an orphaned girl who is repeatedly violated and twice impregnated by her Pa, a man she considers her father. She is forced to leave her younger sister, Nettie, when Pa marries her off to a much older widow, Albert, whom she knows only as Mister.Beyoncé on a Toronto tour stop. “Renaissance,” which she also directed, arrives in an ecosystem partly created by the first adaptation of “The Color Purple.”The New York TimesCentered on Celie’s finding her voice, discovering her sexuality in her relationship with the blues singer, Shug Avery and journeying to forgiveness, selfhood and community with other women, like her daughter-in-law, Sofia, Walker’s novel earned her the National Book Award and made her the first Black woman to win the Pulitzer Prize for fiction. The movie earned 11 Oscar nominations; then came a Tony Award for the 2005 Broadway show and two for the 2015 revival, making this one of the most prized narratives in American history.Nowadays, it is hard to believe that when Steven Spielberg released his adaptation in 1985, he and Walker had to cross a picket line of protesters to attend the premiere. But his drama was met with great controversy. While researching my book “In Search of The Color Purple: The Story of an American Masterpiece,” I discovered that many critics, the majority of whom were Black male writers or political leaders, had accused the filmmakers of reinforcing stereotypes of Black men as hyperviolent through the characterizations of Pa, Albert and Harpo (Albert’s oldest son) and the abuse they inflicted on Celie and Sofia. Other critics took umbrage at Celie’s lesbian relationship as undermining traditional Black family values.Led by Black organizations like the N.A.A.C.P., the Nation of Islam and the now defunct Coalition Against Black Exploitation, the campaign against that movie was bitter and divisive. In turn, its defenders, including many Black women who saw themselves in Walker’s characters, felt pitted against others in their own community. The pushback was so effective that the film won no Academy Awards. (It lost the top Oscar to “Out of Africa.”)“Without a doubt the controversy is the reason we didn’t take home a single award that night,” Oprah Winfrey, who starred as Sofia in the original and later served as a producer of both the stage and movie musicals, told me in an interview in 2018. “I was puzzled and frustrated by the N.A.A.C.P.”And yet the film was groundbreaking, changing our understanding of what was possible for Black actors and stories in Hollywood. Ultimately, it paved the way for these new works by Beyoncé, DuVernay and Bazawule. And unlike its predecessor, Bazawule’s musical version, opening in theaters on Christmas Day, premieres alongside other films with predominantly Black casts, and so his “Color Purple” is free to reimagine and experiment with form and conventional musical conceit.Through Celie’s vivid inner life, the dynamic songs and choreography, and playful cinematic references, this version honors its literary, Broadway and Hollywood forerunners while successfully updating how we see Alice Walker’s characters and, even more surprisingly, innovating how we can experience the movie musical genre itself.Arriving in a different feminist moment, Bazawule is not bedeviled by the sexist and homophobic concerns that plagued the first movie. And yet, his most memorable scenes subtly take on those past critiques while adding new cinematic layers to Celie’s story. Early in the film, Celie’s active imagination — depicted in the novel through her letter-writing — is shown as both a coping mechanism and a surrealistic narrative detour. When the teenage Celie (Phylicia Pearl Mpasi) discovers that her children are alive after Pa convinced her that they had died, she dreams of avoiding the drudgery of her life.In the number “She Be Mine,” Celie imagines that she has left Pa’s store and walks through a Southern landscape that is paradoxically lush and marred by the exploitation of Black laborers. As she passes a group of Black men working on a chain gang and Black laundry women washing clothes by a waterfall, we recognize that her escape is limited and illusory and that she is as oppressed in her home as they are in their work.But when adult Celie (Fantasia Barrino-Taylor) tends to the bodacious blues singer Shug (Taraji P. Henson), her interiority takes over even more. As Shug falls asleep in the bathtub while listening to a record, Celie suddenly imagines a gramophone that’s larger than life, and standing on a spinning vinyl album that doubles as a concert stage, she belts an empowering song.Later, Bazawule expands his surreal aesthetic when Celie and Shug go to the movies. Sitting in the segregated balcony section as they watch “The Flying Ace,” Richard E. Norman’s 1926 silent with an all-Black cast, Celie imagines them in a different movie — one in color in which they are dressed in ball gowns and singing to each other in front a Duke Ellington-like jazz band. When we return to the present, they kiss, cementing their relationship and finally enabling Celie’s fantasy to come true. In 1985, that kiss was brief and the cause of much public debate. With access to her inner thoughts in 2023, Celie’s hopes and desires become our own: We recognize that her intimacy with Shug is long-awaited and fulfilling.Taraji P. Henson and Barrino-Taylor working on “The Color Purple” with Blitz Bazawule. Eli Ade/Warner Bros. PicturesAs Celie finds her voice, rejects the abuse from Albert and gains more and more agency, her flights of fancy seem to disappear. But, by the time we reach the showstopper “Miss Celie’s Pants,” in which she, Shug and other women celebrate Celie’s separation from Albert and her newfound entrepreneurialism, the bold color palette, uplifting music and lively dancing associated with her dreamlike sequences dominate.Unlike other movie musicals in which the songs distract from the dramatic action, the numbers and the composer Kris Bowers’s score are woven together in a way that makes the soundscape feel like the film’s true setting. This might be because Bazawule was one of several filmmakers who collaborated with Beyoncé on “Black Is King,” the visual companion to the soundtrack for the live-action “Lion King” (2021); he understands how to make an entire film sing rather than string together a series of scenes.And yet the original song Bazawule co-wrote for the movie, “Workin’,” for Celie’s stepson, Harpo (Corey Hawkins), stands apart for giving this man more multidimensionality than he had in the previous adaptations.In this scene, Harpo rejects Albert’s authority by building his own house, and it’s a harbinger of his evolution. He goes from being a sensitive young adult to an abusive husband to a man who finally breaks his family’s intergenerational cycle of violence against women. Walker’s novel partly shows this metamorphosis, but Bazawule fully realizes it here, nullifying any lingering controversies about Harpo’s fate or flaws in his representation.Growth, I suspect, was always the point. It took a while for Winfrey and Scott Sanders to convince their fellow producer Spielberg that the Broadway musical could lead to a new adaptation. “I didn’t really know if ‘Color Purple’ had another movie in it,” he told Variety. That Bazawule breathes new life into these characters reminds us of what a masterpiece Celie’s story remains for us today. More

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      Fantasia Barrino-Taylor on ‘The Color Purple’ and a Painful Role

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      Throughout the six months of production on the new film adaptation of “The Color Purple,” Fantasia Barrino-Taylor, who plays the protagonist Celie Johnson, often called on God for strength.“There were times that I just felt like I’m not going to make it. I cannot do it. I would cry going to set. I would cry leaving set,” she admitted sadly. “I would talk to God, and I would tell him, ‘You’ve got to make this make sense. Make it make sense. There’s got to be something out of this.’ It was so hard.”The film, based on Alice Walker’s Pulitzer Prize-winning 1982 novel, details the transformative journey of a rural Georgia woman in the early 20th century. First adapted into an Oscar-nominated movie in 1985 by Steven Spielberg, then reinterpreted for Broadway in 2005, it has once again been retrofitted as a musical, complete with dance. The role of Celie, however, remains consistent — one of inveterate trauma, stretched over decades of abuse by first her stepfather, then her husband, until she manufactures the strength to stand on her own. Onstage, when Barrino-Taylor took over the part in the original Broadway run, and then on film, that meant enduring endless verbal attacks, physical abuse and lovelessness, which was difficult to manage on a daily basis. Barrino-Taylor would often leave the set deflated and bruised from doing her own stunts.Before production began, she had “started traumatic therapy, where you tap into the younger person, the younger Fantasia, and you try to heal things that you either suppress or are literally forgotten,” she said in a video interview. A wife, mother of four, grandmother and owner of two dogs, Barrino-Taylor, now 39, was committed to being her best self to those around her. “I wanted to take this healing journey. So, I had to stop therapy, and I had to allow Celie to be my life coach. Girl, that wasn’t easy.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

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      First Look: ‘The Color Purple’ Movie Musical

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      The director Blitz Bazawule added magical realist elements to his adaptation. But convincing Fantasia Barrino to return after Broadway took some work.“The Color Purple” is a monumental, and monumentally successful, work that has taken many forms: Alice Walker’s original 1982 novel, a Pulitzer Prize winner; Steven Spielberg’s 1985 movie, an Oscar nominee many times over that launched the screen career of Whoopi Goldberg and introduced Oprah Winfrey in her first movie role; and two Tony-winning Broadway musical productions, the box-office smash original in 2005 and the revival in 2015.Now there is a film version of the musical, directed — as no other adaptation has been — by a Black filmmaker, Blitz Bazawule, from a script by a Black screenwriter, Marcus Gardley. And the 2023 movie, due Dec. 25, manages to bring something new to its sweeping story, adding elaborate fantasy sequences that redefine the characters and the feel. It’s now a period drama with a magical realist twist.From left, Henson, Fantasia Barrino and Danielle Brooks lead a musical number. Warner Bros. Pictures“It was very important that the grand multiverse that is ‘The Color Purple’ is represented in this film,” Bazawule said.This multiverse encompasses the storied history of productions of “The Color Purple,” with celebrity producers from earlier iterations like Spielberg, Winfrey and Quincy Jones (who was responsible for the music in the original film), as well as Scott Sanders, who put the show on Broadway. And it builds on its past with performers including Fantasia Barrino and Danielle Brooks, who reprise their Broadway roles. Rounding out the cast are Taraji P. Henson, Colman Domingo, Halle Bailey and a few surprise cameos.The film’s biggest introduction just might be Bazawule, a 41-year-old Ghanaian filmmaker, visual artist, author and musician whose résumé ranges from his self-financed indie debut to Beyoncé’s visual album “Black Is King.”Blitz Bazawule, pointing, on set with his cast, including, from left clockwise, Louis Gossett Jr., H.E.R., Jon Batiste, Henson, Colman Domingo, Barrino, Brooks and Corey Hawkins. Eli Ade“We were all blown away by Blitz and his vision,” Spielberg said in a statement made before the Hollywood strikes. He also admitted that, while he was thrilled with the stage musical, he initially wanted his take “to be the only film version of the story.”Conversations with Winfrey and Sanders — who had been campaigning for the movie musical for a while — helped change his mind. “It’s a reimagining and so different than the movie that I had made,” he said. “It really does stand apart.”“The Color Purple” starts in rural Georgia in the early 1900s and winds through the life and family of Celie (Barrino), an impoverished Black woman who suffers tremendous abuse at the hands of nearly every man in her life — most notably Mister, her husband (Domingo) — and a socioeconomic system built to grind her down. Her evolution toward independence in the mid-20th century mirrors the hard-won march toward liberty of women, queer people and colonized nations, all of which figure into the story.The fantasy sequences put the audience in Celie’s imagination. It’s a counterweight, Bazawule said, to the notion that abused people are docile.“I find that to be completely wrong,” he said in a video interview last week from Burbank, Calif., where he was finishing the film. “The abused are constantly working their way out of it. And if we were just in their heads, we will know that they are not just sitting and waiting for a savior. Celie was actively saving herself.”Those sequences, written into the screenplay and envisioned by Bazawule as glorious song-and-dance numbers, gave Celie more agency. “In previous iterations, quite frankly including the stage musical, she’s a passive protagonist for a good part of the storytelling,” said Sanders. Now, audiences can see “what her inner voice was telling her, as she was moving through her self-discovery and triumph over adversity.”Barrino, the “American Idol” alumna, played Celie in the first Broadway production and on tour, and needed to be convinced to revisit the role. “She was very, very hesitant to do it,” Bazawule said, “because it’s heavy work — it weighs down on the artists. And she was dealing with her own personal healing.”He won her over by showing her a rough clip of a dream sequence between Celie and Shug Avery, the sultry chanteuse played by Henson; it promised character development on a big scale. “I said, ‘We’re going to go there — you know, we’ll have a 50-piece orchestra. It’s going to be wild,’” Bazawule said. (Barrino and the rest of the cast were unavailable for interviews because of the actors’ strike.)Bazawule working with Henson and Barrino on set. He had to convince Barrino to reprise her Broadway role. Eli AdeBazawule’s first hire was actually the choreographer Fatima Robinson, a veteran who has worked with everyone from Michael Jackson to Mary J. Blige, and who choreographed the 2006 movie musical “Dreamgirls.” Bazawule recalled watching her videos for Aaliyah, his friends stopping the tape over and over to copy the moves, when he was a teenager in Accra. “She’s always had such a regal reverence and a curiosity about dance from all over the world,” he said.Her hip-hop and R&B pedigree is evident in neck swivels and shoulder shimmies that connect TikTok dances to their 20th-century lineage. Some of the songs were sped up to match her moves, Sanders said. Bazawule also had her choreograph narrative scenes and help with the way the camera moves around the actors. “It’s always in a ballet with the narrative,” he said.Bazawule is a multihyphenate who started as a painter, then became a hip-hop performer; he records as Blitz the Ambassador. (His given name is Samuel; his stage name, he said, had a lot to do with his production style: “very fast and very glitzy.”) But even he had trouble with the basic structure of a movie musical, incorporating songs into the action. “The biggest challenge was to figure out, how do you take this very sprawling music and turn it cinematic?” he said.He separated the score into its three root genres — gospel, blues and jazz. And he brought in new arrangers for each: Ricky Dillard, Keb’ Mo’ and Christian McBride. (The original Broadway numbers are by Brenda Russell, Allee Willis and Stephen Bray, pop and R&B songwriters.) He also wrote songs for the movie, including a beat-driven work anthem for Harpo, Mister’s son (Corey Hawkins). “The goal was to make sure that the music was always talking to each other,” he said, and to have it be in tune with a contemporary soundtrack.His ambitions were evident from his first pitch to the producers, when he showed them a full storyboard he had pencil-drawn himself. During Bazawule’s presentation — via video during the height of covid — “I literally texted Oprah,” Sanders recalled. “I went, ‘Oh, my God, this is the guy.’ And she wrote back, ‘Yes, he is!’”“It was a slam-dunk 100 percent” Oprah said in a video interview recorded before the strike and shown at Essence Fest. “I loved being on set to witness how he brought this new vision to the screen.”For all its popularity, “The Color Purple” is not without its critics, especially when it comes to its depiction of gender dynamics. Some view it “as anti-Black male,” Bazawule said. “We were very conscious of that.” The filmmakers aimed to depict a masculine “evolution,” from the entrenched sexist beliefs of Mister’s father (Louis Gossett Jr.) to Mister, capable of redemption, to his son Harpo, loyal to the feisty and feminist Sofia (Brooks) — a male character Bazawule called “aspirational.”From Mister (above, played by Domingo) to his son Harpo (Hawkins, with Brooks), the film aims to show a masculine evolution.Ser BaffoEli AdeSpielberg’s 1985 adaptation was also dinged for downplaying a lesbian story line, which is more foregrounded in this version. “Times have changed in the way we relate to sexual orientation, to race, to abuse — you can show and talk about certain things that may have been challenging back then,” Bazawule said. “Our job was just to make sure that we’re meeting our audience where they are.” His hope was to appeal to younger moviegoers, and mint a new generation of “Color Purple” fans.“We all knew that we had to do our absolute best,” he said, “because the bar is high, and we couldn’t be the ones to come in below it.” More