Sing Sing is a feelgood prison drama that doesn't quite hit the right note

In the crowded field of independent dramas, authenticity is a sought-after and scarce resource. This month, it seems easier to notice the new releases not based on true stories, which is common during the annual January awards season movie feast. Australian audiences finally have the chance to watch those highly anticipated films that Americans have already flooded the internet with various memes about.

Digging beneath the clichés and visual tropes of "Sing Sing," you'll find a worthwhile true story. Set within the eponymous maximum-security prison, a group of inmates are preparing for their next theatrical production. They’ve ditched Shakespeare in favor of an original play, "Breakin’ the Mummy’s Code," a vibrant time-traveling adventure that blurs the lines of time and fiction between ancient Egypt and Freddy Krueger.

The troupe is led by John “Divine G” Whitfield (Colman Domingo, "Zola"), a writer wrongly convicted of murder and the passionate founder of the group. His care extends beyond the stage, offering legal advice to his fellow inmates; his own clemency hearing is on the horizon, where he intends to prove his innocence.

In his cramped concrete cell, plastered with photos, books, and legal documents, we see him crafting his own screenplay, about the rise and fall of a fictional record producer, only to be rejected by the comedy-craving troupe. In a poignant microcosm of prison life, we later see the room roughly upended during a routine search; his maintenance of self within prison requires constant rebuilding.

Despite the joyful informality of this production (organized by the non-profit Rehabilitation Through the Arts, RTA), it is a sincere endeavor for the actors, many of whom are playing versions of their real selves. Clarence “Divine Eye” Maclin, playing a reluctant newcomer to the project, whose acting chops are first assessed by “Divine G” while shaking down a new inmate during a yard drug deal, delivers a remarkable breakout performance.

The rehearsal scenes are compelling, not only because the process of the play taking shape is satisfying, but also because of the genuine camaraderie shared among the troupe. Maclin is the most compelling figure in "Sing Sing," ultimately earning the chance to play Hamlet as a mummy, and his approach is less studied, more instinctive than Whitfield's. The production touches on his hard-won defenses, prompting complaints about the corny theatrical exercises and rehearsals, which his peers respond to with unwavering good will.

Maclin and other RTA alumni are so good at playing themselves, bringing an unvarnished, earthy gravitas to their roles, that they end up contrasting with the fictionality of the movie around them. It’s hard to imagine an independent drama getting the green light without a marquee name attached, but with the story belonging to the supporting players, Domingo’s central role feels a little uneasy, even with the real Whitfield making a cameo appearance.

There’s no question that Domingo is great as “Divine G,” but it’s still worth mentioning. He’s a marvel of resilience, and his Whitfield carries himself with pride and purpose, a glint of fire in his eyes. He’s vulnerable, but never weak, and he becomes stronger when he stands his ground, articulating his points with a magnetic baritone. Taken on its own, it’s a wonderful performance by one of our finest character actors.

The broader issue is that the film’s structure feels too deliberate, despite the commendable effort to include former RTA members in the creation process. The film neatly divides lived experience into three distinct sections, drawing heavily from other stories about marginalized people putting on a show. The drama often exists for drama’s sake; some of the most powerful emotional beats in "Sing Sing," delivered by Domingo's authentic performance, ultimately feel the least genuine.

Bryce Dessner’s score is pedestrian, his overwrought string chorales unnecessarily intruding on much of the film, as if afraid a moment of startling intimacy or creative spontaneity might not express itself. The shaky handheld camerawork is a superficial imitation of authenticity, even trying to extract wispy, shallow-focus poetry from a circle of barbed wire.

This is an extraordinary story, hampered by mediocre filmmaking; a melodrama where sentimentality triumphs over sincerity. The film’s excellent ensemble cast is still worth watching, even if one suspects that "Breakin’ the Mummy’s Code" might have been a better vehicle for their talents. "Sing Sing" is in select cinemas now.