Tyler Perry’s Doing Life, which came out on Netflix this month, is the only Tyler Perry movie I’ve ever seen.
The setup is simple. Anika is a single mother who once worked as a prison officer. Carousel is an inmate serving time for attempted murder. During a riot, he protects her and her unborn child. Afterward they begin writing letters, and what grows out of those letters becomes the heart of the movie. Then Carousel gets out, and the romance has to leave the page and survive the real world, including Anika’s family, who want nothing to do with a man carrying a prison record.
Perry has said the film is an homage to two ’90s Black love stories, Love Jones and Jason’s Lyric. So yes, it’s a love story. But what stayed with me wasn’t really the romance. It was Carousel.
People don’t just like this character. They love him.
After I watched it, I went looking for what other people thought, and I ended up watching a handful of YouTube reviews. A few were done by psychotherapists, which surprised me. And what struck me was the tone.
Usually when people love a movie, they talk about the movie: the acting, the plot, the ending, the music. These reviewers talked about Carousel the way you’d talk about a man you know. Men and women both. They went on about what a good man he was, how steady, how decent, how responsible. Some of the women seemed half in love with him. It was almost as if he weren’t a character in a film at all, or a big-screen heartthrob, but somebody they’d met and couldn’t stop thinking about.
I found that fascinating. Here’s a man with a violent crime in his past, and audiences aren’t forgiving him in spite of it so much as admiring him because of what he’s done with it. That’s a particular kind of hero, and I wanted to figure out which kind.
A classic Joseph Campbell hero
My first thought was that Carousel is a classic hero, and I still think so. I mean that in the sense Joseph Campbell laid out in The Hero with a Thousand Faces back in 1949. Campbell noticed that hero stories all over the world share the same bones. The hero leaves the ordinary world, descends into some kind of underworld, survives an ordeal that changes him, and then comes back carrying something of value for the people at home.
Carousel hits those marks almost exactly. Prison is his underworld. The riot is his ordeal, the moment of physical courage when he puts himself between violence and a woman and her child. In the letters we watch the inner transformation happen. And then he comes back out into the world, determined to take responsibility for his past and build a different future, down to working toward law school.
What makes him a little unusual is that his big heroic act comes early. After the riot, his trials aren’t tests of strength. They’re tests of character: patience when he’s judged, humility when he’s doubted, steadiness when it would be easier to walk away. That quieter heroism is probably why some people describe him as almost saintly. But a saint doesn’t usually begin with an attempted-murder conviction. Carousel is something more familiar, and to me more moving: a man who fell, and climbed back.
In good company
Carousel belongs to a long line of characters who went into prison one man and came out another. Three of them came to mind right away.
Jean Valjean, from Victor Hugo’s Les Misérables, is the great ancestor. He serves nineteen years, starting with a stolen loaf of bread, and comes out hardened and bitter. Then a bishop shows him mercy he doesn’t deserve, and Valjean spends the rest of his life trying to become worthy of it. But society never lets him forget. He’s required to carry the yellow passport that marks him as an ex-convict, and doors close in his face wherever he shows it. Anika’s family, looking at Carousel and seeing only his record, are holding up their own version of that yellow passport.
Red, from The Shawshank Redemption, is the second. Most people remember Andy Dufresne, but Andy was innocent. Red was guilty of murder, and he knew it. He spends decades inside, grows into wisdom and decency, and finally earns his parole. Then comes the frightening part: learning how to live in a world that kept moving without him. Like Carousel, Red’s real test begins when the gate opens.
Malcolm X is the third, and he’s not a fictional character, which makes him the most powerful example. In prison he copied the dictionary page by page, read everything he could get his hands on, and found faith and discipline. He came out a different man, a teacher and a leader. When I watched Carousel set his sights on law school, I thought of Malcolm educating himself in a cell.
Of the three, only Valjean has a moment of physical heroism like Carousel’s. In one famous scene he crawls under a runaway cart and lifts it off a trapped old man, knowing that a feat of strength like that might give away his past. Red and Malcolm X were brave in other ways, but they never had a scene like the riot. Carousel has both: the dramatic act of courage that makes a classic hero, and the slow, unglamorous work of rebuilding a life that Red and Malcolm had to face.
What these men share isn’t purity. Every one of them did wrong. What they share is that the wrong didn’t get the last word.
The hardest part of the journey
Here’s the thing about Campbell that I think explains why Doing Life works. Campbell said the hardest stage of the hero’s journey isn’t the descent or the ordeal. It’s the return. The hero comes home changed, and the ordinary world doesn’t believe it, doesn’t understand it, or doesn’t want what he’s bringing back.
Most movies skip that part. They end at the triumph, with the credits rolling over the victory. Doing Life does the opposite. The heroic deed happens early, and nearly the whole film lives in the return: a transformed man trying to come home to a world, and a family, that still sees the old record. Redemption here isn’t a trophy you win at the end. It’s something you have to keep living, one ordinary day after another.
Maybe that’s why people love Carousel the way they do. He isn’t a superhero, and he isn’t a saint. He’s a man doing the unglamorous work that most heroes never get shown doing. A lot of folks know someone like him, or wish they did, or are trying to be him.
So here’s my verdict, for what it’s worth. Carousel is a character in a movie, in the tradition of Jean Valjean, Red, and Malcolm X. It’s a good movie.
A note on how this came about: After watching the movie, I asked Gemini whether Carousel was a classic hero, then kept the conversation going with Claude. This post grew out of those conversations, and Claude helped me draft it. The observations and opinions are mine; the writing was a collaboration.
