MICRO-REVIEW: “SWEETHEARTS OF THE PRISON RODEO”

Films set in prisons frequently depict inmates as “others,” as morality tales, and the emotional color palette of their grim lives runs from gray to black. Or the stories aim for easy, unearned inspiration. Fortunately, Bradley Beesley’s humanistic “Sweethearts of the Prison Rodeo” dignifies the subjects of his documentary—female prisoners. While the film doesn’t forgive them or skirt their crimes (the majority of the women are serving stiff sentences for drug-related charges), the true subject of the film is not crime—it’s freedom.

Once a year, the inmates at Oklahoma State Prison participate in a brutal, gladiator-style rodeo—on prison grounds—while their friends, family, and complete strangers watch them compete for cash prizes. Prisoners are trampled, butted, and gored. The rodeo is an ultra-violent event, and the female inmates prepare by getting dressed in matching pink outfits and applying make-up (which is otherwise barred from the prison). The stars of the film—like Rhonda Buffalo, Brandy Witte, and Crystal Herrington—are depicted as humans, as women, and not simply as prisoners. Their lack of freedom doesn’t define their identity. These ladies are just people who messed up, got caught, and are paying the price. They’re also damn good athletes.

Is this antiquated event—which started in 1940—exploitative? Repulsive? Perhaps. Do the inmates seem to mind? You couldn’t tell by looking at them. This event is what they look forward to for the entire preceding year. Prison “is boredom,” states inmate Danny Liles, and the risk of being stomped by a bull is preferable to spending 23 hours a day in a cell.

Beesley, a veteran documentary director of the cult classic “Okie Noodling” as well as “The Fearless Freaks” (which profiled The Flaming Lips), manages to reveal the humanity of his characters—their hopes, fears, dreams, and regrets—while they train for the rodeo. A formally elegant film, its tone gentle and humorous, “Sweethearts of the Prison Rodeo” gains a profound gravity as it charts a deceptively simple path to the main event: the 2006 Oklahoma State Prison Rodeo, which allowed—for the first time—female inmates to compete against males.

Much like “The Fearless Freaks,” which made a sobering tonal shift when musician Steven Drozd became explicitly candid about his heroin addiction, “Sweethearts”’ possesses a deep reserve of emotion that is earned by staying close to its subjects’ desires—release from prison, a visit from family members, or a day at the rodeo. What these men and women want, we want.

It’s simple, right? Freedom, family, forgiveness—these are human needs. Without ever loudly announcing its statement of purpose, while focusing on bulls and broncos and adrenaline, “Sweethearts of the Prison Rodeo” makes a plea for human dignity and compassion.

(Full Disclosure Note: The producer of this film, Amy Dotson, is the Deputy Director of the IFP, the parent organization of Filmmaker – Editor.)
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