First impressions of Sing Sing

“The glory of God is man fully alive.” Have you heard that before? It’s a quotation attributed to St. Irenaeus, and it has become a popular way of saying that when human beings live up to their potential we glimpse a revelation of the Divine. Unfortunately, like so many catchy lines in the social media age, the line has been ripped from a very particular context and, thus, sorely misinterpreted.

Nevertheless, there is something true in the botched, popular interpretation. Nothing makes me believe in God more than the wonder of a human being who exercises the capacities that set human beings apart from the rest of creation—the distinctive unity of the mind and the heart; the power of the conscience; the extravagance of the imagination in the achievement of art; the ability to break cycles of violence through suffering, sacrifice, and forgiveness. We can usually tell the difference between an actor pretending to play a complex man or woman and the real thing. Thus, it’s a rare and wonderful thing when an actor suspends our disbelief and moves us by bringing to life a convincing, compelling human being.

I thought of the St. Irenaeus line while watching Sing Sing. While movies about the power of art to change lives are common, and far too commonly formulaic and sentimental, this one is better than most. One reason for that is its roots in a real story: Sing Sing is based on the lives of real prisoners participating in a real arts program—Rehabilitation Through the Arts (RTA).

Further, the film features men involved in this program—some still incarcerated, some free—playing themselves. They’ve lived this story, and the authenticity they bring to the project shows.

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