One of the biggest debates during the “Oscars So White” debacle that plagued the nominations last year was that there weren’t enough roles of substance for people of color. I was one of the people who did not want to see a pity nomination for mediocre work. If the nomination was warranted, then go right ahead. There were some performances last year that maybe should’ve been noticed but this year the roles for people of color have the nuances that deserve more attention. Perhaps the best example so far this year comes as the year draws to a close.
Fences is a masterclass of acting 101 and Denzel Washington and Viola Davis are the teachers who were meant to spread their knowledge. This is a film that is a celebration of powerful performances by men and women delivering intelligent and thought provoking dialogue. The film may suffer at times due to its play like nature but it’s always grounded by the performances and that alone makes it one of the best offerings of the year.
Shepherding the project from the stage, where he played the lead in the 2010 limited Broadway revival, is Denzel Washington. He’s stepping behind the camera for the third time and the first in nearly a decade. To his credit, Washington has never made a bad directorial effort and this is by far his best work but it’s his best because he merely lets the material speak for itself. There appears to be a bit of a hands-off approach (five of the six principal players appeared in the stage play) but this isn’t a detriment. He has faith in all of his performers and he’s there to assist them and not take away from what they bring to the material. He may have an issue opening up the production (it almost always feels like a play rather than a film) but the emotions are palpable and poignant enough to keep our interest.
The story is set in Pittsburgh during the late 1950s and addresses the African-American culture as set against the backdrop of changing race relations. Troy (Washington) is an ex-Negro League baseball player whose years as a player preceded Major League Baseball’s dismantling of the color barrier. It is one of his enduring regrets that he never had an opportunity to play on a bigger stage for more money. Now, married for 18 years to Rose (Viola Davis) and 53 years old, he still has a tendency to frame explanations in baseball terms. He uses strikes, balls, and outs as metaphors. Troy is also a garbage man with aspirations of moving out from behind the back of the truck, where he works with long-time friend Bono (Stephen Henderson), to the driver’s seat – a promotion that would make him the city’s first black trash truck driver. He lives in a small house with Rose and their son Cory (Jovan Adepo) and he also has an adult child, Lyons (Russell Hornsby), from a previous marriage. His brother, Gabriel (Mykelti Williamson), who was wounded in the war, used to live with him until he recently moved out to get a place of his own.
The film explores Troy’s life through a series of crises and various different events. His relationship with his son Cory is very rocky. This is the kind of relationship that develops between a father and a somewhat hard headed son. Their growing tension provides some of the film’s best moments because they’re immensely powerful but also call back to some of Troy’s difficulties with his own parents. The parallels are quite interesting because you get the impression that despite Troy’s desire to educate his son, you can tell that Troy wasn’t too different from him at that very age. This is something that a lot of kids can pick up on and Cory is no different. It’s a fractured relationship and it’s presented with an authenticity that truly resonates.
Troy is also feeling trapped in his own existence which results in an illicit affair which brings upon an unplanned pregnancy. The revelation of his infidelity is by far the film’s biggest emotional moment and it was one that stayed with me long after it was over. Viola Davis, who has campaigned in the supporting actress category this award’s season, gives this scene most of its emotional power and the moment almost guarantees that she will be up on that podium come Oscar night finally giving the acceptance speech that she should’ve given years ago. I love that she has brought class to guilty pleasure TV with Emmy and SAG wins for How to Get Away With Murder but if this performance doesn’t garner her an Oscar, I don’t know what will.
Denzel Washington is no slouch in the acting department either. Along with Glory, Malcolm X and Training Day, Fences will stand as one of his signature performances. Washington has always displayed strength in some of best roles and there is no denying his power here. I would say he also is guaranteed a spot on that stage Oscar night but Casey Affleck seems to have a bit more momentum for Manchester by the Sea. If anything Washington provides some stiff competition.
I was also moved by how beautifully written the film was. It captures the vibe of the period and is very respectful to its characters. There is an honesty in the script that translates well on screen and that’s another reason why it resonates so well emotionally. Since this is adapted from August Wilson’s play of the same name, the film is a very talky affair. This is just the nature of a production like this but since most of it is dialogue driven, it’s important that it speaks in complete truths and that’s an aspect in which Fences shines.
If you care about an elegant script and emotional impact, Fences is the film for you. The only thing keeping it from a perfect score for me is that due to its nature as a play it can be a bit condensed but you’ll soon get beyond that once you see two well-respected thespians doing what they do best. It’s arguably one of the best-performed films of the year and it commands your attention.
Reel Talk gives Fences 3.5 Reels
