The Tyler Perry Collection: Madea Goes to Jail

Director: Tyler Perry Tyler Perry

Overview

The outspoken Southern matriarch of Tyler Perry's wildly popular stage show finally lands in the one place where talking won't do her any more good in this release of a performance originally captured on camera before a live audience. Madea (Perry) has a reputation for being able to talk herself out of any tight situation, but when the police arrive determined to haul her away to the pokey, she quickly discovers that sometimes it pays to resist temptation and simply keep your mouth shut.

Product Details

Release Date:	06/27/2006
UPC:	0031398193302
Original Release:	2006
Rating:	NR
Source:	LIONSGATE - 600000-AEC LGE
Region Code:	1
Sound:	[Dolby Digital Stereo]
Language:	English
Time:	2:13:00
Sales rank:	5,059

Special Features

Closed Caption;Behind the scenes with the cast and Tyler Perry; the Magic of Madea/The Making of Madea Goes to Jail; Blooper TV; Full screen version; English 2.0 Dolby Digital audio; Spanish 2.0 Dolby Digital audio; English and Spanish subtitles; English closed captioning ; Trailers

Cast & Crew

Performance Credits

Tyler Perry	Madea,Madea,Performer,Performer,Composer,Composer
Cheryl Pepsii Riley	Wanda,Wanda
Cassi Davis	Ella,Ella,Leo,Leo
Chantell D. Christopher	Vanessa,Vanessa
Christian Keyes	Sonny,Sonny
Ryan Gentles	Nate,Nate
Brian Hurst	Jeremy,Jeremy
Anndretta Lyle	Toni,Toni
Elvin Ross	Composer,Composer

Technical Credits

Tyler Perry	Director,Director,Producer,Producer
Amy Bolton-Curley	Producer,Producer

Editorial Reviews

How do you solve a problem like Madea? Writer, director, and star Tyler Perry toned down his signature drag alter ego for the theatrically released Diary of a Mad Black Woman and Madea’s Family Reunion. But she is in her old-school, pistol-packing glory in this videotaped production of Perry’s original musical play. The formidable, indomitable Madea is indeed in prison, where she meets Katie, who is married to a pimp and whose 16-year-old daughter is disrespectful and delinquent. Madea agrees to take the child into her home, which she already shares with her hardworking, good-hearted nephew and his upwardly mobile wife, Vanessa, a “tramp.” Perry delivers what his core audience craves: soap-opera plotting (infidelity, hospitalized baby, challenged parentage), rousing musical numbers that build with a gospel-like fervor, and plain-spoken common sass delivered by Madea. But his very positive messages of empowerment, the importance of family, and self-respect are strangely juxtaposed with what only can be described as Madea’s sociopathic behavior, which includes dealing with an uppity teen by poking her with a lit cigarette, and firing handguns at an abusive parent. And the sold-out theater roars. It must be a Madea thing.