Cast:
Denzel Washington (Troy Maxson), Viola Davis (Rose Lee Maxson), Stephen McKinley Henderson (Jim Bono), Jovan Adepo (Cory Maxson), Russell Hornsby (Lyons Maxson), Mykelti Williamson (Gabriel Maxson), and Saniyya Sidney (Raynell Maxson) Directed by Denzel Washington.
Review:
"The star of the movie is the screenplay and August Wilson's words. What Denzel said to me, to Scott, to all the actors, the cinematographer, and the production designer was, 'Don't make any decision without August Wilson's words leading you to make that decision.' Whatever you do, let the words inform your decision first. That's what we all had to abide by."
If the right person is found, the right result will be found for the material to show to the screen. The source material for the film was the play of the same name, which was first developed on the stage in 1983. Written by playwright August Wilson, it was the sixth play done by him in what is now considered part of the "Pittsburgh Cycle", with each play taking place in a different decade of the 20th century. The city native wrote ten plays that all dealt with the African American experience within his city (although one was actually set in Chicago); this and Ma Rainey's Black Bottom (1985) were his first triumphs with audiences, and Wilson would win a Pulitzer Prize for Drama and a Tony Award for Best Play upon Fences' premiere on Broadway in 1987. When asked about the idea of turning Fences into a film, he wanted an African American director, or more specifically, one who would in his eyes be a director that "shares the specifics of the culture of black Americans." Despite Paramount Pictures buying the rights to make a film in 1987, the idea stalled for years, despite Wilson having wrote a screenplay for it before his death in 2005. When there was time at last do make a film, the script was generally kept intact, although there were a few uncredited rewrites done by Washington, Tony Kushner, and Spike Lee in pre-production. In the director's chair was actor/director Washington, who had added directing into his repertoire with Antwone Fisher (2002) and The Great Debaters (2007), and he also served as a co-producer on this feature. The film retains the main duo from the 2010 revival on Broadway with Washington and Davis, who toured for a limited run of 13 weeks and each had been awarded Tony Awards for their performances; Henderson, Hornsby, and Williamson also reprised their roles from the 2010 stage show.
What we have here is a film ripe for great actors to pair with each other that could prove mesmerizing and poetic in the right hands. I'm sure Wilson would have been quite proud of the result in turning his play into a film, as it manages to be quite an entertaining time, one shot right in the setting of the Hill District in Pittsburgh. The film moves with timing of a poet that manages to seem right at home within a film that drives its strength from two actors in their prime that makes one almost seem right there at a distance to hear their cadence come out with clarity in a family drama that generally hits the mark for what it wants to say regarding its time and place (in this case, the 1950s). No matter how much one tries or doesn't try, the folks that raise us a child are always going to be a part of us, flaws or not, where duty matters more so than just having someone liking you for the sake of it. Of course there is also the idea of what a fence means, both literally and in metaphor. In an era of films that seem to bill themselves on trying to out explode the other or try to hit marks on quieter stream services, it is nice to have a film that wants to reach its own depth of interest in terms of meaningful drama that does not come off as too fenced off for interest. Washington and Davis are our main focus, and while each received buzz for their performances, the latter was generally felt to be a supporting presence. To level it as tha is to forget the fact that each compliment the other in their own ways, where one doesn't seem to be lacking the other or feel that they are watching a director-actor's show. Washington does quite well with such an imposing role, one wrapped with plenty of the human element of what makes a father from Wilson's perspective with reasoned edge and tough interest. He makes his dealings with no overblown moments of playing to the rafters that obviously excelled from the performances done in the theater. In that mindset, Davis (who had starred in Washington's first directorial effort but best known for her star role on How to Get Away with Murder) follows with a resourceful touch, one that stands with Washington and brings everyone together with grace and stature to drive the drama just as well as Washington. Each have their moments when paired with Adepo in regards to the nature of parental influence, whether that means devotion or something else, and that is made pretty clear with Davis' scene near the end when talking about what one person meant to her and her son in terms of legacy (the scene Davis and Washington share in a pivotal moment about secrets is a close second). Adepo manages to do his best when faced with acting with either of them with reasoned care. Henderson accompanies the proceedings at times with a bit of charm and advice that goes along fairly well. Hornsby and Williamson close out as the primary support with well-done touch (mostly for the latter). All in all, what we have is a captivating family drama that captures the essence of a time, place, and upbringing that resonates with the viewer through its main two performances with flourish that hits most of its marks for 139 minutes for a solid accomplishment of turning a stage classic into a film.
Overall, I give it 9 out of 10 stars.
Well, I hope you folks enjoyed this month and what it tried to cover with Black History Month. Perhaps it will be done again next year, but I assure you that there will be some surprises ahead in 2021 for Movie Night that I hope you enjoy. Any suggestions you have are always appreciated; thank you and have a good night...
