There are many themes that run through the movie Sinners. Whether they are intentional or if they are just my interpretation, that’s up to cinephiles, historians, and ultimately, the man himself; Ryan Coogler. One such theme is…
Race
Let’s not pussyfoot around. Had Ryan set this story in any other time period, would it be as impactful? Probably not. It might have been your typical…hold on. You know what kind of story this is, right…? I’m just going to say it…If you haven’t seen the trailer(s) or any of the movie’s promotion, this is a slight spoiler…. It would be a run of the mill vampire flick. Having the cast be predominately black and having it set in 1930’s Jim Crow South, adds a multitude of layers to the story.
You have twin brothers, Smoke & Stack (Michael B. Jordan), rising to prominence in Chicago, returning to their home in the Mississippi Delta, to make a name for themselves. Or, at least it seems that way. As the movie progresses, we get hints toward the true nature of their return. However they made their success up North, doesn’t hold weight among the white business owners down South. Dressing to the nines isn’t going to give them a pass with the white folks in town, either.
Speaking of which, we are introduced to Remmick (Jack O’Connell) who is being chased by a group of Choctaw Indians. He finds the home of a white couple Bert (Peter Dreimanis) and Joan (Lola Kirke). They are not so welcoming with this skirmish brought upon their doorstep. Remmick pleads with the couple for refuge. Seeing Bert’s klan robes, he implores their Christian sensibilities to gain entrance. A deadly mistake.
If you’ve made it this far, I’m assuming you don’t care what I give away as far as plot. Which isn’t much but going into this movie cold is almost an impossibility. If you had seen the first trailer and nothing more, you’d have zero clue, aside from its vibe. Then, for whatever reasons, they chose to show everyone with glowing eyes and blood around their mouths. Either there was some bad food being served or…vampires. Guess which one? Not only is there racial tension but now you have tension among the living AND vampires?! These people just want to have a good time at Smoke & Stack’s Juke Joint! Which brings me to my next observation.
Appropriation
Another hot-button issue. Race and appropriation go hand in hand. We’re introduced to Sammie (Miles Caton), a talented musician and cousin to the twins, Smoke and Stack. Sammie, a preacher’s son, can play the Blues like no other.
There’s power behind it. Music is power. There’s a sequence that displays its influence. Especially for those in attendance, as well as Remmick and his two new companions.
The Blues is closely associated with slavery. It was a way for slaves to tell stories and pass them on to others. It’s precious to their way of life. The struggles and the pain they’ve gone through. Coming out of it on the other end to have their voices be heard. It’s not new. Stories have been told through music and dance as far back as cave drawings. The regions from whence they came. Be it Polynesian islands, Africa, Asia, etc. All cultures shared their stories in some form or another. Then someone has to take it as theirs. You know how appropriation works. Take a little. Take it all. It’s not right. Speaking of taking…
Vampires
Traditional vampires are seen as succubi. Seeking blood as a source of sustenance. In Sinners it’s that but also energy. Something interesting Ryan has done with the vampire lore is, the victims are absorbed. That means their life force, along with their memories. Each one becomes part of the collective hive. Bringing everything they know. Which brings me back to Remmick. He hears Sammie’s playing and is drawn to it. He wants sustenance along with Sammie’s musical talent. Several displays of this power are used in eery ways. I can’t recall the hive mind ever being used before (maybe in Doctor Sleep?) but, here, it’s quite effective.
Appreciation
Ryan Coogler hasn’t reinvented the wheel with Sinners but he made this vampire entry one to remember. His influences seem cherry-picked. Some obvious, others less so. There are scenes in it that will live rent-free in my mind. Ryan Coogler chooses subjects that speak to him on a personal level. Ever since his first feature, Fruitville Station, Michael B. Jordan has been by his side and his muse for every project. Jordan is DeNiro to Coogler’s Scorsese. It’s a partnership that has that Midas Touch. With Sinners, he’s got Jordan TWICE which is nice. That’s like having two rabbit’s feet. He got the “Eye of the Tiger” back from a flailing franchise (Rocky) with Creed. His entries for Black Panther stood out within a studio system that had been labeled “formulaic”. He is anything but and that’s been proven, time and time again.
Arguing With Myself 