Saturday, February 25, 2017

Fences (Quick Review)

2016 has been a poor year in film, and I need look no further than its Best Picture nominees for such reinforcement.  Six out of the nine nominees are either mediocre to subpar in storytelling, wasteful in potential, or a mix of both.  The noticeable fault shared by these films (in addition to a large chunk of 2016 cinema) is their inability to get me emotionally attached to their characters.  Manchester by the Sea and Hell or High Water are prime offenders; I simply did not care enough about the characters to get invested in their plights.  There’s only one nominee I consider Best Picture worthy—a film that breaks from the masses with superb writing techniques and beautiful character development—and that saving grace is Fences.

Fences (adapted from a play of the same name) succeeds with creating complex, beautifully written, three-dimensional characters—yet its well-written characters are only a portion of what makes Fences great.  When it comes to play adaptations, where dialogue is forefront and key, it serves to have some really effective acting.  Denzel Washington (who both directs and stars in the adaptation) has long-since proven to be a great actor, so it should come as little surprise when I state he, once again, does a terrific job playing the protagonist Troy—delivering not only a powerful performance, but the best I’ve seen all year (there’s no uncertainty here on who deserves Best Actor).  It’s not just Washington, however, but the entire cast who deliver noteworthy performances all-around—in particular Viola Davis’ beautifully poignant presentation as Troy’s wife Rose, which she reprises from her stage performance of the play.

What stands out the most about Fences is the manner in which it handles Troy’s character.  The film highlights Troy’s positive aspects first: emphasizing his humorous/witty side, his love for Rose, his caring/compassionate nature for his disabled brother, etc.  The story then dives into Troy’s harmful traits—such as having a mistress, his prideful/stubborn nature, being temperamental to the point of abusive (thereby causing his wife and son to be fearful about what they do/say)—though not before gradually divulging his tragic backstory (i.e. his devilish father, his mother’s abandonment, his years as a thief/in jail, his success and restrictions with playing baseball, etc.).  The way Troy is developed/expanded upon as a character—showcasing his good side first, then revealing his backstory, before finally showcasing his darker nature—is exceptionally well done.  Troy is clearly a flawed being, yet the story does a remarkable job in getting the viewers to sympathize with him even when disapproving of his actions.  Troy is a morally complex character handled with both great care and equilibrium.  The combination of engaging dialogue, three-dimensional characters, excellent acting, notable storytelling techniques, and the ability to induce emotional attachment makes Fences an all-around exceptional adaptation, one of 2016’s finest films, and my favorite film out of the Best Picture nominees. 

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