Let it be said that the new musical “The Color Purple” in no way replaces the sometimes-wrenching 1985 film adaptation of Alice Walker’s acclaimed novel.

The film version of Marsha Norman’s 2005 stage musical is best appreciated with a word that means one thing on Broadway and another in American Protestantism — “revival.” Packed with tunes in the pre-“Hamilton” stage musical tradition, bubbling over with production numbers that dance right off the screen, it’s a feel-good holiday event that reprises many of the highlights of Steven Spielberg’s earlier film.

First and foremost, it floods the frame with fresh faces, celebrating African American singing and acting talent.

Didn’t catch Fantasia Barrino on Broadway? Her Celie is immortalized here.

Slow to pick up on the brilliance of Colman Domingo and Halle Bailey? Domingo makes a lean, banjo-picking (and singing) menace as “Mister,” and Bailey (“The Little Mermaid”) is the very embodiment of the beautiful sister “lost,” pined-for and found as Nettie.

Forgot Taraji P. Henson can sing? And dance? Danielle Brooks didn’t give us any “Jailhouse Rock” or R&B in “Orange is the New Black.” She does here.

Ghanese New York music video (Beyonce? Naturally.) and film director Blitz Bazawi and screenwriter Marcus Gardley expand on themes and story threads sometimes treated more tentatively in Spielberg’s film. Sexual abuse, same sex attraction, Black enterprise and life in the racist Georgia of the early 1910s through the ’40s are front and center.

It’s quite similar, just more upbeat.

If you don’t remember the story, here’s a refresher. Sisters Celie (Phylicia Pearl Mpasi) and Nettie (Bailey) are tighter-than-tight, bonded under the roof of their shopkeeper/sexually-abusive stepfather (Deon Cole, chilling).

Teen Celie is pregnant when we meet her, but the baby is taken away. Not the first time that has happened. “Daddy” then comes for Nettie, who resists and flees. And when glowering widower Mister makes the stepfather an offer, there’s nothing for it but for Nettie to leave town altogether.

Mister will settle for heartbroken Celie, who will raise his children and keep his house and satisfy his sexual urges and take his beatings. Meeting the cussed “Old Mister,” the ornery bastard’s father (Oscar winner Louis Gossett Jr.) explains a lot.

Celie’s liberation begins when she meets Shug (Hensen), Mister’s one true love, a blues singer who enjoys regional fame and celebrity, and her pick among the men. They “renew” their acquaintance whenever the hard-living, hard-drinking blues shouter swings through.

But “Miss Celie’s” in love, and Shug knows it.

Celie draws further inspiration from the spirited Sophia (Brooks), who wants to marry Mister’s smitten son Harpo (Corey Hawkins). Sophia doesn’t take any guff from Harpo, Mister or racist white folks, and pays a price.

Years and decades pass as we see Celie’s broken spirit renewed and repaired via a sisterhood of women.

This “Color Purple” may not be as pictorially pristine as Spielberg’s film, as he was famed for borrowing shots and inspiration from the great films of John Ford, among others. But the juke joint scenes pop, taking their visual cues from great Black painters and paintings like Ernie Barnes’ “Sugar Shack.”

Bazawule’s brisk “Purple” lacks the emotional gut-punches and taut suspense — How will Celie act-out/lash out? — of master manipulator Spielberg’s film. This is altogether a lighter and sunnier cinematic experience. But Celie’s faith is moved front and center, showing the difference between Black filmmakers with an awareness of the role of the Black church in the South in African American life.

The redemption stories are much more clearly delineated, with Bazawule and the Broadway show seeing “Mister” as both a monster, and another victim of the time and his own cruel upbringing.

And some of the biggest delights come from some very clever casting coups. Henson brings a brassy, world-weary bravado and sexual confidence to Shug, a woman who knows her power and uses it. She beautifully reprises “Miss Celie’s Blues,” a tune co-written by Quincy Jones from the 1985 “Color Purple,” and stomps through “Push Da Button,” a suggestive blues showpiece by the songwriting team of the stage musical, Brenda Russell, Allee Willis and Stephen Bray.

Domingo adds banjo-playing to his sky’s-the-limit repertoire.

The great character actor David Alan Grier steals his scenes as a wry, spirit-filled but judgmental preacher, just tearing through a celebratory opening ensemble hymn “God Works in Mysterious Ways.” He is Shug’s estranged, disapproving dad, but being the twinkly and tuneful Grier, we know a tearful rapprochement duet (“Maybe God is Tryin’ to Tell You Somethin'”) is in the cards.

And watch singer, piano player and former “Late Show” bandleader Jon Batiste as Grady, the piano-player/bandleader whom Shug marries. He sits at the keyboard, vamping the hell out of one of her numbers, turning it into a giddy, mugging-over-her-shoulder romp with his musicianship and comic timing.

“The Color Purple” wasn’t a Broadway-changing blockbuster on the stage, and the songs, pleasant and fun in their context, don’t exactly stick with you after one viewing. Maybe the soundtrack will grow on us.

Some of the casting nods to Black cinema history — two Oscar winners are in the cast — smack of “fan service.”

But this cast and crew ensure that the film is a brisk, upbeat, feel-good bounce through an aching tale of trials and tribulations to triumph story that has become an American classic, and well worth a holiday family outing at the movies.

Rating: PG-13 for mature thematic content, sexual content, violence and language.

Cast: Fantasia Barrino, Taraji P. Henson, Halle Bailey, Phylicia Pearl Mpasi, Colman Domingo, Danielle Brooks, Corey Hawkins, Jon Batiste and David Alan Grier

Credits: Directed by Blitz Bazawule, scripted by Marcus Gardley, based on the stage musical by Marsha Norman which is based on the novel by Alice Walker and movie by Steven Spielberg. A Warner Bros. release.

Running time: 2:20