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They want to keep it so decide to make the frog a 'house' in a bucket. Bing throws all his duck food in the water in one go and gets more than he bargained for when a goose comes to eat it.īing and Sula find a frog in the garden. Sula is very good at standing quietly and giving the ducks just the right amount of food.

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Sounding husky and committed, confident and intense, her voice builds a bridge between the worlds of the secular and spiritual music she once so expertly walked.īut for these two films with the same name, separated by five decades, that transcendent performance may be this mini-franchise’s greatest claim to history.Episodes Series 1 (2014–15) No.īing thinks he is brave enough to watch fireworks outside in the garden.īing plays enthusiastically with a new orange balloon and bursts it, which makes him sad.īing and Pando squabble taking in turns going on the swing and the swing accidentally knocks Bing over.īing and Sula go to the park to feed the ducks. But the film’s musical emotional high point is a performance of the gospel standard “His Eye Is on the Sparrow” by Ms.

Sparks, along with established vocalists Cee Lo Greene and Goapele, capturing the period flavor of the new material. Ejogo carries the musical weight for most of the film with Ms. Mayfield, is a product of Chicago’s rich musical heritage. Several new songs have been added to the soundtrack, including a few by R. Houston’s character fiercely declares her religious fervor, while admitting past missteps, underlines the film’s spiritual politics and serves as an eerie reminder of the mistakes that led to Ms. Now it becomes an at-times-uncomfortable coda to her life. It is a part that could have harbingered a comeback for the singer. This stern woman is a stickler for black church ritual, imposing nighttime Bible study sessions and inviting her minister to family dinners. The mother’s role, originated by the superb Mary Alice, is greatly expanded to accommodate the casting of Whitney Houston, as a fallen soul singer raising her three daughters as devoutly as possible. Cab” before breaking into “white” movies with “St. Schumacher first made his mark in movies as a “black” screenwriter, helping create “Car Wash,” “The Wiz” and “D.C. Though now a long established mainstream Hollywood director, Mr. “Sparkle,” for example, was written by a young Joel Schumacher. As well-intentioned as many of these films were, they didn’t necessarily mean that Hollywood was opening its doors wide to black filmmakers. Pimps, players and private eyes may dominate our memories of that controversial period in American film, but several sweet-natured human-interest stories, notably “Cooley High,” “Car Wash” and “Sparkle,” were released in the mid-’70s. That “Sparkle” existed at all is a testament to a small, underappreciated post-blaxploitation moment in Hollywood when several non-ghetto-centric films made it through the production pipeline. (The 1979 disco-flavored “La Diva” was the poorest-selling album of her classic Atlantic Records years and deserved to be.) Franklin the Mayfield songs provided a potent albeit brief return to form for the rest of that decade she would flounder creatively and make some of her worst recordings. Franklin, pillars of ’60s soul at its height, returning to the kind of stripped-down R&B arrangements they (and almost everyone else in black music) had abandoned by 1972 or so. Intensifying the nostalgia at the heart of the project was the choice of soundtrack performer: It was Aretha Franklin, with her powerful voice, not the actresses who performed the songs in the film, who was asked to record the album. Mayfield, one of soul music’s most gifted singer-songwriters, to compose a score that echoed the innocence and desire of the kind of early-’60s hits he’d written for his group, the Impressions, and many others. But where “Dreamgirls” used a painfully weak pseudo-R&B score to tell its tale of a star-crossed female vocal group, “Sparkle” employed Mr. The film predates the much more celebrated Broadway retro-soul musical “Dreamgirls” by five years.

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“Sparkle” represented an early example of nostalgia for the soul era, though the movie was just a scant decade removed from the genre’s artistic and commercial peak. The innovations that hip-hop and Prince would introduce to black popular music were still years away. Soul music, a passionate melding of gospel vocal styles and secular subject matter, was ebbing as a force while dance grooves anchored by self-contained bands or disco studio ensembles took over as the hippest sounds on the radio. The first “Sparkle” arrived at a particularly fraught time in black American culture.

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