Danielle Brooks, from left, Fantasia Barrino, Blitz Bazawule and Taraji P. Henson pose for a portrait to promote the film "The Color Purple" on Thursday, Dec. 7, 2023, in Los Angeles. (Photo by Willy Sanjuan/Invision/AP)

Sometimes when you witness a piece of art that moves you in a way for which clapping and crying can’t even begin to do justice, you become silent.

For 20 minutes after watching “The Color Purple,” I couldn’t speak. And when I finally did speak, it was about how the musical-film should receive every award it’s nominated for.

This remake, which features a star-studded, women-led cast of Fantasia Barrino (Celie), Taraji P. Henson (Shug Avery), Hallie Bailey (Young Nettie Harris), Phylicia Peal Mpasi (Young Celie) and Danielle Brooks (Sofia), hits all of the marks of a historical fiction, accurately depicting what Black women and men went through in the early 1900s.

For those who don’t know the premise of “The Color Purple,” this is not a movie that I would recommend for anyone triggered by stories and visuals of assault. There were times that I felt a level of discomfort witnessing the acts that Celie, Nettie and Sofia had endured.

But, arguably, that is the point of the film and Pulitzer Prize-winning novel — to listen to their stories even if it makes you uncomfortable; to bear witness to the resilience and to open your arms (and minds) to forgiveness, protection, faith and love, and to speak up so that others don’t endure this same pain in the future.

The film starts with young Celie, who is pregnant at the time, giving her child to her father to give to “God.” While you may assume the worst, the truth to the excuse is revealed near the end of the film. Celie and Nettie, who are sisters, are shown growing up in the early 1900s in the south, with the story continuing over four decades. The two are assaulted by their father, or who they believe to be their father, and eventually end up on their own — Celie was married off and Nettie ran away for her safety. Unfortunately, Celie was married off to Albert “Mister” Johnson, played by Colman Domingo, who is abusive and wants to be with Nettie. Mister is not, and will never be in love with Celie and it is apparent from the moment they were put together, especially when Shug Avery comes to town and shakes everything up — with her career, family and Celie.

I won’t go into much more detail, because it is important that you see this film.

Musical numbers — performed by the, again, star-studded cast that also included Ciara, Jon Batiste, H.E.R. and Aujanue Ellis-Taylor — played out seamlessly with delicate lighting, intricate settings and impressive choreography.

As a viewer, I found it to be an immersive experience.

The way in which the period costumes and set dressing played a part in the choreography made it feel like the viewer was a fly on the wall in some of the musical scenes.

Shug Avery’s “Push Da Button,” Harpo Johnson’s (Corey Hawkins) “Workin'” and Celie and friends’ “Miss Celie’s Pants” are just a few examples of those scenes.

To me, the most important song of the film lies in that of its name, “The Color Purple,” which is performed by the entire ensemble with features from Fantasia, Ciara, Brooks, Henson, Hawkins and Domingo.

The ensemble is together at once under a tree, celebrating the reunion of the sisters and other family members as well as presence.

I think Shug Avery puts it all into perspective in one line:

“I think it pisses God off if you walk by the color purple in a field somewhere and don’t notice it.”