Barreras

If I hadn't known what Fences was going in, I would have been able to tell before any color hit the screen. In a second before the vibrant world of Fences fades into view, the astute theater-goer will recognize the fast-paced almost narrative cadence of two characters talking as lines written for a stage play. Fences is an adaptation of August Wilson's 1987 play, a part of his Pittsburgh Cycle. It won the Pulitzer Price for Drama in as well as the Tony Award for Best Play, repeating this with the Tony Award for Best Revival of a Play in 2010.

We're not venturing into mere trivia either, as that revival starred Denzel Washington and Viola Davis (both taking Tonys for their acting). Not only do both reprise their roles in this film, but Denzel Washington directs. This probably explains why Washington puts in such a theater-like performance. For him, it must have felt like stepping into old shoes with very little desire for change. As I alluded, those accustomed with the stage will recognize and probably even like the kind of performance that at all times demands audience attention, as on stage, you have to do exactly that. In movie form, some might confuse it for scene-chewing, but either way, it gives his character a larger than life affability. As is said in the movie, his ability to fill a house could apply as much to his small house in universe as it could to a theater house. It goes a long way to explaining why in the end, these characters have such a strange respect for a man who is such a heinous character.

If it seems like I'm only praising Washington's performance as relatively good, that might be because he shares the screen with Viola Davis. Davis's performance is not only more suited for film, a medium she has taken by storm lately, but it's also transcendentally fantastic in its own right. In one pivotal scene, Davis's character pours her heart as the actress pours tears and snot down her face. It's not many movies that I can leave and think, boy, we really should have more snot in our films. When it comes to movies, I like to think of myself as an everyman. I approach the Oscars with a sort of double-speak. There's the film that should win (Moana), and there's the film that should win and has a chance (Hell or High Water). In a rare moment of finding these opinions in concert, I could only describe the possibility of Viola Davis not taking home the Best Actress Award with one word: ridiculous.

Denzel Washington certainly doesn't need to feel upstaged. While August Wilson wrote the screenplay himself before passing away in 2005 (a little uncredited work was done on it by Tony Kushner, who settled for a co-producer credit), it's still no small feat to take something designed for the small stage putting it on a film screen. A while the film is still more than a bit obvious, I think Washington really did as much as he could to make it as a good a movie as it could be. There are few real scenes and constant talk, but there's just as much constant motion. Characters walk down a crowded street, transition through the house, come in and off screen organically. It gives a similar effect as if a long scene was done in take. But none of this would matter if it weren't for the impeccable set design. Taking place in the actual Hill District of Pittsburgh that was so important to Wilson's stories, the recreation of the 1950s feels almost too alive. The back alley where the eponymous fence is being built is very reminiscent of the set of Rear Window, perhaps smaller in scale, but feeling no less lived in.

Fences is a film built upon quite a pedigree, but what is it about? I believe that Fences is a story about masculinity. In the film, masculinity provides. It helps you ensure that get what you are owed. But masculinity also takes. Troy Maxson (Washington) is an old man obsessed with what he believes the world owes him. The world owed him glory in sports. The world owed him a better profession. A better standard of living. He even believes that the Grim Reaper owes him life. Even though there are legitimate arguments as to why he never obtains these things, we can still say that they are fair wishes. But as the movie progresses, we see that when he tries to take the things he's owed, he doesn't necessarily think about who he's taking from or what they are owed.

Due to its strict adaptation, Fences is extremely dense in its amount of talking compared to other films. The depth this gives to its characters and sheer literature value certainly goes a long way to cement Fences as one of the smartest films of the season. But I have to be a little self-aware and recognize that as a source of entertainment, Fences probably appealed to me mostly as a man who enjoys the stage. Others might not be as indulgent with it as I am.

Troy Maxson missed out on so many opportunities as a young man, held back for one reason alone, his colour, when it comes to his own family, he can't help but be influenced by the bitterness inside of him.

It's a solid movie, it's one of those where when it finished, I contemplated how awesome it would be seeing this on stage, I could only imagine seeing Troy ranting to a captivated audience about the injustice of it all.

I've got to be honest, at times I found this quite a frustration watch, the movie's time line seemed to randomly jump about at times, I couldn't see the purpose it served. I found Troy quite hard to connect with, definitely an angry and frustrated guy, he seemed to take his frustrations out on those closest to him, talk about tough love.

I found the visuals very pleasing, nice camera work, very easy on the eye.

Fences is definitely well acted, Washington was very good, but Viola Davies was outstanding, I thought she stole the show, as she so always does.

6/10.

A very strong emotional performance by the great Denzel Washington, not his best per say but it gives us everything we love about this great actor. A well driven vehicle for Washington as well as well made by Washington who also directed the film.

Denzel and Viola Davis were a pretty outstanding combination. It seems like a no brainier that one day these two would work together on this level and here it is. It was worth seeing just to see these two as a couple going through their hard times.

It's a very basic movie, despite putting some money into the CGI to make it look like the 1950s, it all takes place in one area and relies a lot on the experience actors and the performances they give, so little is done to change the tone. It really feels like the movie is giving us a Broadway production.

It was also very gritty. Denzel and Viola gave some real life to these characters. It's very rare that you get the movie star whose also an actor and he's unafraid to open up, but that's what Denzel does and so did Viola, just not afraid to let it all hang out for the role.

Worth seeing to see some real craftsmanship in acting. It was a great movie adaption to a great play.

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In the 50's, in Pittsburgh, the bitter and proud fifty-three year-old garbageman Troy Maxson (Denzel Washington) lives a simple life in a poor neighborhood with his wife Rose Maxson (Viola Davis), his teenage son Cory (Jovan Adepo), who is an amateur football player, and his brother Gabriel "Gabe" (Mykelti Williamson) that is an insane man after losing part of his skull in the war. His best friend is Jim Bono (Stephen McKinley Henderson), who works with him, and his estranged thirty-four year-old son Lyons (Russell Hornsby) is married and tries to survive as a musician with financial difficulties. Troy is a frustrated man since he was too old to become a professional baseball player when the leagues began to admit black athletes. He refuses to receive the recruiter of a college and consequently does not allow Cory to join college. The tension increases in his family when he confesses to Rose that he has a mistress that is pregnant. Meanwhile he has been building a fence in the limits of his real estate.

"Fences" is a heavy drama in the 50's in a black community with a black family. The lead character Troy Maxson is not a bad man; actually he is a provider that delivers his paycheck to his wife. However, he is an illiterate man that treats his son the way he was treated in the past. He tries to protect him from the disappointments he had with sports and is unable to see that times are changing. But his attitudes build a fence between his family and he and Troy ends the story alone. The performances are top-notch and Viola Davis and Denzel Washington deserve the nominations to the Oscar. My vote is six.

Title (Brazil): "Um Limite Entre Nós" ("A Limit Between Us")

When you pair up Denzel Washington with Viola Davis on screen, you know you're in for two of the most outstanding performances you'll see all year and that's exactly what you get from FENCES. That said, if only director Denzel Washington and his crew could've figured out some ways to lessen the stage play feel to it and make this seem more cinematic. But then again, breaking out of that format is indeed usually the challenge when dealing with straight up adaptations from stage plays, just like "August: Osage County" a few years ago.

Scripted by August Wilson, adapted by Wilson's own Pulitzer Prize-winning play, Denzel Washington plays an African-American father struggling with race relations in the United States while trying to raise his family in the 1950s. He's still bitter from his doomed baseball career in the past, blames it on the white man, so when his son tries to get into sports, he discourages him, telling him that the white man wouldn't give him a single opportunity out there in the field. Denzel's character's wife, played by Viola Davis, faithfully stands by his side despite the secret that would change their family forever.

Story-wise, it doesn't get more well-thought out than FENCES, it's dialogue-driven, it's performance-driven, this material is every actor's dream come true because it has so many layers and it provides room for you to showcase the best version of your chops. We know Denzel and Viola Davis are phenomenal, but FENCES allows them to venture into places and show us shades that may not have been seen before. And I'm sure it feels liberating for all the actors involved in this film to just dig deep down, tap into those emotions and lay them bare for the world to see, and there's no wrong way of doing it.

The conflicts in FENCES are powerful, like a fist through a wall. Nuances surround the characters so you end up understanding where they're coming from despite being in agreement or disagreement with many of their decisions. To a certain extent, I think Quentin Tarantino and Aaron Sorkin fans would find FENCES appealing since each of the characters has incredibly long lines that run like 100 mph. Marital affair, resentments, built up hatred, forgiving your past, there's no shortage of drama in FENCES, its cup overflows. But again, as I said earlier, I think there's a missed opportunity here, the film just didn't do enough to make itself appear cinematic. Composer Marcelo Zarvos' music is almost non-existent. Forget the backseat, many of film's elements are practically locked up in the trunk.