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Hello and welcome to the movie blog of author John DeFrank - FilmZ and Guy Sobriquet Malone - Researcher

Fences Review


FENCES Review 01/10/2017

In my review of La La Land, among my many compliments, I noted that fans of musical theater will especially love it.  I bring this up because, two days later I saw Fences and my immediate thought was, fans of stage dramas will love this.  Before Denzel Washington brought it to the screen, he and Viola Davis starred in a Broadway revival of August Wilson's Tony and Pulitzer Prize-winning chapter of his "Pittsburgh Cycle" of plays.  Washington serves as director and lead role in this gripping family drama of the African-American experience in 1950s Pittsburgh.  It truly seems like a play brought to the screen.  With the exception of a few establishing shots of the neighborhood with steel mill smokestacks in the background, most scenes play out in and around a home in the Hill District.  The small cast and minimalist score accentuate the intimacy of the film, effectively focusing our attention on the details therein, from dynamic interactions to nuances of expression and foreshadowing.

As the story opens, Troy Maxson (Washington), a 53-year old garbageman, is on his way home from work with Jim Bono (Stephen McKinley Henderson), his long-time Sancho Panza, who feeds Troy's ego while trying to keep him grounded in reality.  The men settle in Troy's backyard and crack open a pint of gin, soon to be joined by Troy's sober and stoic wife Rose (Davis).  This setting and set-up become a refrain throughout the film: Troy holds court, beginning his homilies with humorous and boastful memories from his days as a star in the Negro baseball league.  Soon, though, his superficial good nature turns bittersweet and eventually resentful of the treatment of Black athletes by White power brokers.  Each subsequent set of recollections reveals more of Troy's difficult history and provides a window into his current behaviors, including his battle to become the first Black driver for the Pittsburgh DPW; his reluctance to sign a letter allowing his and Rose's son, Cory (Jovan Adepo), a football scholarship; his refusal to see Lyons (Russell Hornsby), his 34-year old son from a previous marriage and aspiring musician, play blues at a local club; and his relationship with his brother Gabriel (Mykelti Williamson in a touching turn), who suffered brain damage during WWII.  Through it all, Rose is his rock; she tries to bring Troy closer to those he loves, even as he seems to want to push them away.  In the end, we learn that some people build fences to keep people in, and some build fences to push the devil-world out.

Like the marvelous Doubt (2008), which won the same awards as a play, Fences features powerful performances (coincidentally, with Davis in both) and mercilessly intense writing.  August Wilson's adaptation of his play is honest, and the big screen amplifies the power of this film and its performances.  Denzel Washington has never been better, but he is oddly taken for granted in his best roles (and off-handedly awarded an Oscar for his lesser, bombastic lead in Training Day).  He has many dazzling peaks, but his best scene is a quiet recollection. Troy's bombast needs a counterpoint, and Viola Davis's subtle, stoic Rose is pitch-perfect.  It is reminiscent of Sally Hawkins portrayal, as Cate Blanchett's sister in Blue Jasmine, but where Hawkins's performance got lost in the hype surrounding Lupita Nyong'o, no such injustice will occur this year.  Davis ensures that in one heart-wrenching scene where pent up frustrations brought on by years of unrewarded acceptance and patience burst forth from Rose, and it is this scene, within this performance, that makes Viola Davis an absolute lock for the Supporting Actress Oscar. 

8.5 out of 10

FilmZ and Guy S. Malone, Researcher 

Here is a good article giving background of August Wilson and Fences:









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