Director Ryan Coogler's latest film, *Sinners*, transcends the typical vampire horror genre by vividly bringing the setting of Mississippi in the 1930s to life. The movie utilizes the blues, a genre historically denounced as "the devil's music," to delve into the lives of its predominantly African-American characters, with Michael B. Jordan portraying the twin brothers Smoke and Stack. This unique approach makes *Sinners* a standout cinematic experience.
According to Eric Goldman's enthusiastic review for IGN, *Sinners* is not just about the thirst for blood but is also infused with music, particularly the blues performed by Sammie (Miles Caton) and Delta Slim (Delroy Lindo) at Smoke and Stack's venue. Coogler uses the blues as a lens to examine the deep connection music fosters across different generations and walks of life. The film also draws a fascinating parallel with the vampire leader Remmick (Jack O'Connell), whose Irish heritage is reflected through traditional folk tunes that grow increasingly prominent throughout the movie.
Coogler masterfully weaves together African-American blues and Irish folk music, using these traditional sounds to highlight the shared painful histories of colonialism between humans and vampires. The film features standout musical set pieces that, as Goldman describes, position *Sinners* as "musical adjacent," allowing the audience to experience how music echoes through time and immortalizes its creators.
In a recent interview with IGN, Ryan Coogler discussed the significance of blues and Irish music in *Sinners*, the film's memorable set pieces, and why the vampire antagonist Remmick was as personally meaningful to write as Killmonger in *Black Panther*. Coogler explained that blues music serves as an affirmation of humanity for the characters, encompassing both their soul and flesh. It's a celebration of the full human condition, contrasting with the edited experience of church music, which he feels leaves out the darker aspects of life. The blues, he argues, is a rebellion against and celebration of the beauty within the oppressive situations faced by generations.
Regarding the vampire community, Coogler expressed his deep affection for the film and his desire to present it raw to the audience. He emphasized that once the movie is released, it belongs to the viewers, who can interpret it in their own ways. He shared his personal connection to Remmick, describing the joy he found in writing and directing this character, who defies expectations and presents a complex view on race and identity.
Coogler highlighted two pivotal musical sequences in the film: the juke joint scene, staged as a one-er, and a later set piece featuring traditional Irish folk music from the vampires' perspective. He discussed how these scenes were essential to the film's theme of fellowship and love, showcasing the resilience and rebellious spirit of both African and Irish cultures through their music and dance. These sequences not only entertain but also convey the timeless nature of music and its power to transcend cultural boundaries.
Coogler's vision for *Sinners* was to offer audiences an experience reminiscent of the awe and wonder he felt in less cynical times, such as watching dinosaurs in a drive-in theater in the early '90s. By integrating supernatural elements and cinematic language, he aimed to capture the transcendent feeling of witnessing a virtuoso performance, a universal human experience that resonates deeply with viewers.
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