Fences (2016) - Short Theatrical Review

Director: Denzel Washington
Cast: Denzel Washington, Viola Davis, Stephen Henderson, Russell Hornsby
Country: United States
Rating: PG-13
Run Time: 139 min

Note: This review for originally written for an internship at a website that I was to partake in. However, I never ended up truly starting the internship in the first place. Therefore, it never got posted, but I didn't want it to go to waste, so I figured that I'd post it here.

After several years of action vehicles, actor Denzel Washington finally returns to fully dramatic affair with Fences, his third directorial effort after 2002’s Antwone Fisher and 2007’s The Great Debaters. However, Fences differentiates itself from the rest of Washington’s oveure in that he previously performed the material on Broadway in 2010 and in a different medium nonetheless. Therefore, Fences finds Washington revisiting material that he tackled once before, but now upon the big screen and in control both in front of and behind the camera. While it’s nice to see Washington return in full dramatic force, his latest is nothing more than a literal cinematic translation of a dialog centric play, failing to take advantage of the possibilities or perks offered up by the medium.

Since Fences is based upon a play, the name of the game is character and dialog. Therefore, a discussion of plot would be meaningless, as Washington and the play itself have no interest in the matter. Washington plays Troy Maxson, a trash collector in 1950s Pittsburgh, Pennsylvania, whom lives a simple life day in and day out. The film chronicles the interactions Troy has with his friends and family members, ranging from his best friend, Jim Bono (Stephen McKinley Henderson), to his wife Rose (Viola Davis), typically on the front porch of his house or in the back yard. Over the course of the cinematic play, Maxon’s temperance and loyalty to his family is tested as dramatic revelations unravel and themes of death, fatherhood, coming of age, and regret are tackled.

It’s clear that Fences’ strongest points is its excellent character work and truly stunning performances. Washington’s performance as a vulnerable and flawed father as well as Davis’ turn as his dependable wife make for two of the year’s finest displays of screen acting. Both actors are positively on fire, conveying charisma, warmth, humor, and dramatic tension all through their juicy roles. There’s no doubt about it that each will score an Academy Award nomination come Oscar season, let alone give all other frontrunners a run for their money and potentially sweep up the award depending on how voters swing.

Washington’s Troy Maxson makes for one of the most complex cinematic characters of 2016, as he’s not your typical father figure. He’s a flawed care taker whose made mistakes in his life and continues to each and every day. He’s a respectable man, and one of the hardest workers whom was probably ever born, but all the more relatable due to his glaring and possibly familiar flaws to some. To Kill a Mockingbird this is not, as Troy Maxson is a far cry from the perfect and stalwart Atticus Finch. But not every father can be Atticus Finch, and sometimes Troy Maxson is about as much as a man can achieve, flaws and all. Washington imbues real respect and admiration within such a flawed man, and is to be commended for giving such a complex man a harsh but truthful examination.

Unfortunately, dynamite performances and ripe dialog aren’t enough to carry a play over to the big screen, as Washington stagnantly translates Fences without taking advantage of the potential of the cinematic medium. Cinematic elements and opportunities such as musical score, engaging cinematography, and strong editing are not in Washington’s interest here, as the film is presented particularly straightforward, almost exactly as one would see in a stage play. However, when an onslaught of nearly two and a half hours of dialog is all you get, and with no second act break as one would find in a stage play, it becomes quite exhausting to endure when it’s simply presented as is.

Compare last year’s Steve Jobs and The Hateful Eight for example, two very dialog and performance focused features that are also cinematic plays. Each placed a strong focus on character interaction, but also benefited greatly from their dynamic musical compositions, daring camera placement, and affective editing. They were so much more than just their words or performances. They were technically on fire and the exact definition of cinema. It’s one thing to watch people stand in one location or walk around and talk to one another, but it’s a whole other experience when those actions are peppered with distinct visual cues and moody music to fit them, i.e. the advantages of cinema. While Fences only has its dialog and performances going for it, those kind of things can also be experienced through a stage play, the exact medium that Washington chose to adapt over to the big screen so simply.

Fences is only a few notches from being one of the best films of the year. Its performances, dialog, and themes are fully realized, thanks primarily to a bevy of great performers and an actor/director who has lived the material time and time again. Washington and Davis fully cement themselves as two of the greatest actors of their generation with Fences, which will probably stand as a classic within the two’s breadth of work. And yet, Fences feels like it could have been so much more were it adapted differently. Maybe a television mini-series, say on H.B.O., would have offered up a stronger platform in order to fully break apart the material for maximum effect. It’s also possible that a different director, other than Washington, with a stronger cinematic eye should have handled the material and worked alongside Washington to greater affect. All in all, Fences is a flawed film, but only from a technical or presentation stand point. It’s as active a watch as any other film this year, thanks to its non-stop dialog and essential performances. At the end of the day, it’s one of the year’s best dramas, and potentially the purest Denzel vehicle ever made. You’d be fooling yourself if you skipped over it, but don’t rush out or expect the very best.