Fences

Denzel Washington made his directorial debut with Antwone Fisher and his followup with The Great Debaters. His latest directorial effort is the long-awaited big screen version of August Wilson's career-defining play Fences. Washington directs himself and most of his co-stars from the 2010 Broadway revival for a strong screen rendition.

Troy Maxson (Washington) was a star of the Negro Leagues in the days before Jackie Robinson. Now he's a garbageman in Pittsburgh. He spends his days with his pal, Bono (Stephen Mckinley Henderson), his wife Rose (Viola Davis) and his son, Cory (Jovan Adepo). His brother, Gabe (Mykelti Williamson), is a mentally-impaired wanderer and his other son, Lyons (Russell Hornsby), stops by asking for cash. Troy's greatest accomplishment before baseball was the time he fought off (literally, he says) Death. He now barely makes enough to support his family.

Troy finds solace with a mistress, Alberta, who we never get to see. We do see him construct a fence for his house, though. We also see his relationships with his family and friends tried and tested by his bitterness. How will anybody get into Troy's life now?

Wilson, who died in 2005, wrote the screenplay for the film version. One can recognize its theatrical origins with its heavy dialogue alone. A lot of major events are depicted off-screen and silent montages tell a few more. A huge chunk of the story is told around the Maxson house. The theatrical limitations may confine some viewers but not me. Here's why:

The cast. Washington, as Maxson, is a sympathetic jerk. He does mean things to Cory and Rose but he still attempts to be a family man. But it's still selfish when he voices favor for his mistress and their child in front of his wife. Davis, as Rose, is a sympathetic housewife who lets loose with her frustrations in the end. Adepo, as Cory, is a great foil for Washington and gets to have two powerful confrontations with him. Williamson, as Gabe, is likable, funny and tragic all at once.

Cinematographer Charlotte Bruus Christensen and Production Designer David Gropman paint a nice picture of 1950's Pittsburgh. Editor Hughes Winborne pieces the monologues and confrontations with strong tension. These aspects work their best in Troy's last scene; it would've been an excellent ending for him if the real finale wasn't seven years later. The finale works best with Marcelo Zarvos's great score; it ends the film on such a powerful image. 

This is a film that does right by its source. Fences is a strong transplant of a legendary play. Its themes of race and familial loyalty smash down any physical or metaphorical fence. It definitely deserves all the praise coming to it.