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Purple Rain

Purple Rain

Drama · Music · Romance · 1984

A victim of his own anger, the Kid is a Minneapolis musician on the rise with his band, the Revolution, escaping a tumultuous home life through music. While trying to avoid making the same mistakes as his truculent father, the Kid navigates the club scene and a rocky relationship with a captivating singer, Apollonia. But another musician, Morris, looks to steal the Kid's spotlight -- and his girl.

Movie details

Purple Rain

“Before he created the music, he lived every bit of it.”

1984 Drama · Music · Romance 1h 51m

Critical arithmetic

One number, for now.

TMDB

6.7 / 10

Community rating

A victim of his own anger, the Kid is a Minneapolis musician on the rise with his band, the Revolution, escaping a tumultuous home life through music. While trying to avoid making the same mistakes as his truculent father, the Kid navigates the club scene and a rocky relationship with a captivating singer, Apollonia. But another musician, Morris, looks to steal the Kid's spotlight -- and his girl.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Purple Rain?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Albert Magnoli

Written by

William Blinn · Albert Magnoli

Prince

Prince

The Kid

Apollonia Kotero

Apollonia Kotero

Apollonia

Morris Day

Morris Day

Morris

Jerome Benton

Jerome Benton

Jerome

Olga Karlatos

Olga Karlatos

Mother

Clarence Williams III

Clarence Williams III

Father

Billy Sparks

Billy Sparks

Billy

Court is in session

Put Purple Rain on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.