written by Pete Hammond, Deadline
Writer-director Tyler Perry takes a step up as a versatile filmmaker in bringing Netflix’s inspiring World War II-set true story The Six Triple Eight to the screen to tell the largely untold story of the Women’s Army Corps Unit of Color and their heroic and important achievement during the war in Europe in 1945. This unit was made up of more than 855 women of color, mostly Black women who endured racism, sexism, grueling weather and conditions far beneath their male counterparts, only to become uncelebrated heroes themselves after being deployed to England, then France in order to make sure the letters from and back to home for soldiers landed in the right hands.
In a genre that has seemingly explored every possible story and angle of WWII in films made during it and after over the past 80 years, this is one that appears largely hidden, but now is getting the rightful screen treatment it so deserves. In fact I kept thinking of the Oscar nominated 2016 film, Hidden Figures which focused on the then also uncelebrated Black women whose contributions to America’s space program finally came to light thanks to the movies. That ought to be the case for the 6888th once this hits Netflix globally on December 20 (following a limited theatrical rollout). Those aiming to run our military right now could take a few lessons from it on the history, importance, and achievements of women in uniform.
Working from a WWII History Magazine article “Fighting A Two-Front War” by Kevin M. Hymel, Perry has crafted a compelling and humane story of what these women achieved against all odds, and much opposition, particulary from the men in charge. The filmmaker focuses on just a few including real life Major Charity Adams (Kerry Washington) who was Commander of the 6888th Central Postal Directory Battalion, a no-nonsense military leader given the assignment to bring her unit into duty by delivering the mail to soldiers fighting overseas, and back to their families waiting anxiously back home for any word of them. This is not the social media age with cell phones , email and other amenities. The only way to communicate mainly was through snail mail, and sometimes the snails got to the mail first. With over 17 million pieces of mail and packages, some virtually unreadable due to being discarded and left to rot, these women were shipped overseas from America to sort it all out. This was a key component to the success of the war because as Adams coined it, “No Mail, No Morale”.
Some of the film’s most powerful images take place on the ship navigating treacherous waters just to get them to Europe, and then with orders to march in debilitating conditions once they landed to begin the process of taking on this impossible task (Debbie Allen did the choreography for the film including the stunning march sequence). Making it even worse were some of the “superiors”, all men, who clearly had no respect for this effort or for the Black women doing it. Racism and sexism were rampant, and one character, General Halt (Dean Norris) seemed to relish giving Adams a hard time, even at one point threatening to relieve her of duties and stop the operation.
Perry’s script though first zeroes in on the human beings, particularly in opening the film back home where we meet the real life Lena Denniecott King (nicely played by Ebony Obsidian) whose budding romance with her friend Abrams is interrupted when he is sent off to war. We see him in battle near death as he puts a blood soaked letter inside his uniform. As the war goes on Lena is distraught, not knowing anything of what has become of him, not receiving any letters. Her story is key here in bringing a personal connection to the greater job this massive group of women must achieve.
Along the way we meet others with distinct personalities including Captain Campbell ( Milauna Jackson), Kylie Jefferson (Bernice Baker), the salty Johnnie Mae (a sharp Shanice Shantay), Dolores Washington (Sarah Jeffrey), and Elaine White (Pepi Sonuga). Perry’s telling of the story also means brief screen time for veteran stars including Sam Waterston as President Roosevelt, Susan Sarandon as First Lady Eleanor Roosevelt, and Oprah Winfrey lending gravitas as Black educator and Civil Rights Activist Mary McLeod Bethune.
Washington, complete with southern accent. starts out a bit as an Officer And A Gentlemen Louis Gossett-style-taskmaster to keep her troops in line, but eventually lets us see the very good-hearted and dedicated person behind the uniform, ultimately earning our tears and respect. She nails it. Norris (Breaking Bad) leaves subtlety at the door, but if every story needs a bad dude to root against then here it is him.
The herculean task of outfitting some 300 or so women ready to go into their own kind of battle is expertly achieved by costume designer Karyn Wagner, and Sharon Busse’s Production Design puts us right back in that era. Aaron Zigman’s score is effective, as is a soaring Diane Warren song, “The Journey” emotionally sung by H.E.R. over the photographic images of the real deal during end credits.
Producers are Perry, Nicole Avant, Angi Bones, Tony L. Strickland, Keri Selig, and Carlota Espinosa. Washington and Peter Guber are Executive Producers.
The Six Triple Eight smartly avoids over-sentimentalizing the story of these stoic and patriotic women, but also knows when to open the floodgates. In others words there won’t be a dry eye for this holiday release, a perfect time to reflect on the gift that the 6888th gave to their country.
Featuring work from Editor, Maysie Hoy
