Joe Quartararo’s ‘On Purple’ is a short film that defies easy categorization. A drama/comedy hybrid that pulls us into a world that feels both theatrical and deeply personal.
From the outset, Sam Carey’s musical score sets the tone, ushering us into an exquisite widescreen vision crafted by cinematographer Matt Kessler. We meet our protagonist, a poet, played by Amie Mackenzie, perched on a park bench, pen poised, observing a mysterious figure – the Lady in Purple (Melissa Hurst). This opening, drenched in rich, cinematic color, is mesmerizing in its quiet, almost hypnotic allure.
But ‘On Purple’ is a tale about contrast. When our poet returns home, the film undergoes a tonal shift. The warm, dreamy hues of the park give way to an oppressive darkness – mirroring the presence of her husband (John L. Payne). He is stern, unyielding, a man whose admiration for his wife’s poetry extends only as far as his demand to hear it. The tension in their dynamic is undeniable; the film teases us with the undercurrents of their relationship rather than offering any definitive resolution.
Quartararo’s script is both cutting and lyrical. The film unfolds like a musical without lyrics, where the interplay of dialogue, visuals, and music forms a rhythmic, almost hypnotic cadence. Payne’s characters own poetry – dark, tinged with humor – adds another layer, hinting at a troubled life beyond what we see.
This is an extraordinary experimental film that is brimming with theatrical flair. With flawless performances and meticulous technical craftsmanship, ‘On Purple’ is an intoxicating, bittersweet glimpse into art, relationships, and the words that shape them. Highly recommended viewing.
