Skip to main content

Some people build fences to keep people out, and other people build fences to keep people in.

Fences
(2016)

(SPOILERS) Well, that was a play. I’m not suggesting for a moment that all movies need to be sweepingly cinematic to resonate, but I do think some semblance of screen parlance tends to be appropriate, to recognize that the mediums are two different beasts, if you’re to translate one to the other effectively. Fences may well be a great play, but it’s a far from superlative movie.


What may be most interesting about it is how this echoes into the Best Actor Oscar win, and to a lesser extent the Best Supporting Actor one. Most odds put the race between Denzel and Casey, and both films are admittedly very much character pieces. But, while Manchester by the Sea isn’t a film you’d exactly label as virtuoso in terms of cinematic language, it is very definitely cinema, and the performances are very much the product of actors rooted in cinema. Everything about Denzel’s adaptation of Fences is rooted in treading the boards, and the extent of the bone it throws to leaving the theatre is pretty much shooting in an actual Pennsylvania backyard.


Is this a bad thing? Well, if you love theatre, probably not. On the other hand, if you love theatre, you’d probably watch the stage production rather than the movie, given half a chance. James Foley did a fantastic job transforming Glengarry Glen Ross into a film, but even there, there are times you feel the tug of its original form robbing it of the quality of a complete film. Part of that is the Mamet method, but part of it is broader still; it’s simply the way theatre is often written, and Fences is written in a hugely theatrical way. Amadeus is also, and there’s theatre in the performances, but it’s a hugely cinematic film, so there’s no mutual exclusivity at play here.


And so, back to the performances. Was Affleck better than Washington? He gave a more filmic performance, which is to say that an interior performance is likely to be more persuasive on the big screen than one designed for a theatre audience. By the same token, I Michelle Williams impact – a moment or scene often being the way movies exert their strongest influence – in that scene in Manchester by the Sea is more powerful than Davis’ more sustained work here. That said, Davis allows for the cinematic influence in her performance much more than her lead/director.


The themes of Fences, of regret translating to self-denial and hurting those closest, are old ones, and August Wilson, in his slow-burn approach (I don’t know how long the play is, but it doesn’t feel like much was cut), enables an effective revolving of Washington’s Troy Maxson’s nearest and sometimes dearest as he interacts through his wife, sons, brother and best friend (Stephen Henderson – also in Manchester by the Sea). But – and I say this as a philistine who doesn’t take in a lot of theatre – I was very rarely not in mind of how this reminded me of other works, not least Death of a Salesman, and how it even ended on a note of the kind of half-baked “This is how plays end” borderline parody we saw the Coen brothers so acutely satirise in Barton Fink.


Troy’s day-to-day existence revolves around how he perceives the race barrier held back his baseball career (Rose suggests he was too old to ever seriously have a chance of making it), and any aspiration anyone else has that threatens to put his trudge of a life in the shade – as a garbage man – reveals his overbearing, diminishing demeanour. That much isn’t such scintillating, but sporadically Fences proves engrossing, particular when it comes to Troy’s relationship with younger son Cory (Jovan Adepo, great in The Leftovers and surely bound for a bright future; he has star written all over him) as he sabotages his son’s dreams, makes excuses for his cynical treatment of his brain-damaged brother Gabriel (Mykelti Williamson) – it’s not such a clangingly unsubtle coincidence that Troy’s tall tales are about dealing with the devil while Gabe’s confabulations are about calling all to the pearly gates with St Peter – and refuses to see his musician elder son, Russell Hornsby’s Lyons, play (lest it remind him of his own failures).


Davis’ might be the best written part here, except when – as the (screen)play is frequently prone to do – it delivers exposition in the place of exploring character through interaction (the number of times we stop and hear a story or backstory). Rose’s dutiful repression by one harping on about their own repression creates a double bind, and so the revelation of his infidelity, and her taking the only course available – turning to the church (the same church responsible for the language Troy uses to justify his behaviours, in terms of duty and the place of the wife) – is entirely believable.


It might be that Washington was too close to the material, too respectful to Wilson (who died in 2005) to turn the picture into something more suitable to its medium. But hey, a sizeable enough audience has responded to Fences to justify his decision, and it’s always good to see the actor get his teeth into something meaty, as he too often rests easy on the laurels of playing iconically-bankable types.


Agree? Disagree? Mildly or vehemently? Let me know in the comments below.

Popular posts from this blog

I’m smarter than a beaver.

Prey (2022) (SPOILERS) If nothing else, I have to respect Dan Trachtenberg’s cynical pragmatism. How do I not only get a project off the ground, but fast-tracked as well? I know, a woke Predator movie! Woke Disney won’t be able to resist! And so, it comes to pass. Luckily for Prey , it gets to bypass cinemas and so the same sorry fate of Lightyear . Less fortunately, it’s a patience-testing snook cocking at historicity (or at least, assumed historicity), in which a young, pint-sized Comanche girl who wishes to hunt and fish – and doubtless shoot to boot – with the big boys gets to take on a Predator and make mincemeat of him. Well, of course , she does. She’s a girl, innit?

Just because you are a character doesn't mean that you have character.

Pulp Fiction (1994) (SPOILERS) From a UK perspective, Pulp Fiction ’s success seemed like a fait accompli; Reservoir Dogs had gone beyond the mere cult item it was Stateside and impacted mainstream culture itself (hard to believe now that it was once banned on home video); it was a case of Tarantino filling a gap in the market no one knew was there until he drew attention to it (and which quickly became over-saturated with pale imitators subsequently). Where his debut was a grower, Pulp Fiction hit the ground running, an instant critical and commercial success (it won the Palme d’Or four months before its release), only made cooler by being robbed of the Best Picture Oscar by Forrest Gump . And unlike some famously-cited should-have-beens, Tarantino’s masterpiece really did deserve it.

I’m the famous comedian, Arnold Braunschweiger.

Last Action Hero (1993) (SPOILERS) Make no mistake, Last Action Hero is a mess. But even as a mess, it might be more interesting than any other movie Arnie made during that decade, perhaps even in his entire career. Hellzapoppin’ (after the 1941 picture, itself based on a Broadway revue) has virtually become an adjective to describe films that comment upon their own artifice, break the fourth wall, and generally disrespect the convention of suspending disbelief in the fictions we see parading across the screen. It was fairly audacious, some would say foolish, of Arnie to attempt something of that nature at this point in his career, which was at its peak, rather than playing it safe. That he stumbled profoundly, emphatically so since he went up against the behemoth that is Jurassic Park (slotted in after the fact to open first), should not blind one to the considerable merits of his ultimate, and final, really, attempt to experiment with the limits of his screen persona.

Death to Bill and Ted!

Bill & Ted’s Bogus Journey (1991) (SPOILERS) The game of how few sequels are actually better than the original is so well worn, it was old when Scream 2 made a major meta thing out of it (and it wasn’t). Bill & Ted Go to Hell , as Bill & Ted’s Bogus Journey was originally called, is one such, not that Excellent Adventure is anything to be sneezed at, but this one’s more confident, even more playful, more assured and more smartly stupid. And in Peter Hewitt it has a director with a much more overt and fittingly cartoonish style than the amiably pedestrian Stephen Herrick. Evil Bill : First, we totally kill Bill and Ted. Evil Ted : Then we take over their lives. My recollection of the picture’s general consensus was that it surpassed the sleeper hit original, but Rotten Tomatoes’ review aggregator suggests a less universal response. And, while it didn’t rock any oceans at the box office, Bogus Journey and Point Break did quite nicely for Keanu Reev

Everyone creates the thing they dread.

Avengers: Age of Ultron (2015) (SPOILERS) Avengers: Age of Ultron ’s problem isn’t one of lack. It benefits from a solid central plot. It features a host of standout scenes and set pieces. It hands (most of) its characters strong defining moments. It doesn’t even suffer now the “wow” factor of seeing the team together for the first time has subsided. Its problem is that it’s too encumbered. Maybe its asking to much of a director to effectively martial the many different elements required by an ensemble superhero movie such as this, yet Joss Whedon’s predecessor feels positively lean in comparison. Part of this is simply down to the demands of the vaster Marvel franchise machine. Seeds are laid for Captain America: Civil War , Infinity Wars I & II , Black Panther and Thor: Ragnarok . It feels like several spinning plates too many. Such activity occasionally became over-intrusive on previous occasions ( Iron Man II ), but there are points in Age of Ultron whe

This entire edifice you see around you, built on jute.

Jeeves and Wooster 3.3: Cyril and the Broadway Musical  (aka Introduction on Broadway) Well, that’s a relief. After a couple of middling episodes, the third season bounces right back, and that's despite Bertie continuing his transatlantic trip. Clive Exton once again plunders  Carry On, Jeeves  but this time blends it with a tale from  The Inimitable Jeeves  for the brightest spots, as Cyril Basington-Basington (a sublimely drippy Nicholas Hewetson) pursues his stage career against Aunt Agatha's wishes.

Poetry in translation is like taking a shower with a raincoat on.

Paterson (2016) (SPOILERS) Spoiling a movie where nothing much happens is difficult, but I tend to put the tag on in a cautionary sense much of the time. Paterson is Jim Jarmusch at his most inert and ambient but also his most rewardingly meditative. Paterson (Adam Driver), a bus driver and modest poet living in Paterson, New Jersey, is a stoic in a fundamental sense, and if he has a character arc of any description, which he doesn’t really, it’s the realisation that is what he is. Jarmusch’s picture is absent major conflict or drama; the most significant episodes feature Paterson’s bus breaking down, the English bull terrier Marvin – whom Paterson doesn’t care for but girlfriend Laura (Golshifteh Farahani) dotes on – destroying his book of poetry, and an altercation at the local bar involving a gun that turns out to be a water pistol. And Paterson takes it all in his stride, genial to the last, even the ruination of his most earnest, devoted work (the only disappoint

I think it’s pretty clear whose side the Lord’s on, Barrington.

Monte Carlo or Bust aka  Those Daring Young Men in Their Jaunty Jalopies (1969) (SPOILERS) Ken Annakin’s semi-sequel to Those Magnificent Men in Their Flying Machines tends to be rather maligned, usually compared negatively to its more famous predecessor. Which makes me rather wonder if those expressing said opinion have ever taken the time to scrutinise them side by side. Or watch them back to back (which would be more sensible). Because Monte Carlo or Bust is by far the superior movie. Indeed, for all its imperfections and foibles (not least a performance from Tony Curtis requiring a taste for comic ham), I adore it. It’s probably the best wacky race movie there is, simply because each set of competitors, shamelessly exemplifying a different national stereotype (albeit there are two pairs of Brits, and a damsel in distress), are vibrant and cartoonish in the best sense. Albeit, it has to be admitted that, as far as said stereotypes go, Annakin’s home side win

If you ride like lightning, you're going to crash like thunder.

The Place Beyond the Pines (2012) (SPOILERS) There’s something daringly perverse about the attempt to weave a serious-minded, generation-spanning saga from the hare-brained premise of The Place Beyond the Pines . When he learns he is a daddy, a fairground stunt biker turns bank robber in order to provide for his family. It’s the kind of “only-in-Hollywood” fantasy premise you might expect from a system that unleashed Harley Davidson and the Marlboro Man and Point Break on the world. But this is an indie-minded movie from the director of the acclaimed Blue Valentine ; it demands respect and earnest appraisal. Unfortunately it never recovers from the abject silliness of the set-up. The picture is littered with piecemeal characters and scenarios. There’s a hope that maybe the big themes will even out the rocky terrain but in the end it’s because of this overreaching ambition that the film ends up so undernourished. The inspiration for the movie

Your Mickey Mouse is one big stupid dope!

Enemy Mine (1985) (SPOILERS) The essential dynamic of Enemy Mine – sworn enemies overcome their differences to become firm friends – was a well-ploughed one when it was made, such that it led to TV Tropes assuming, since edited, that it took its title from an existing phrase (Barry Longyear, author of the 1979 novella, made it up, inspired by the 1961 David Niven film The Best of Enemies ). The Film Yearbook Volume 5 opined that that Wolfgang Petersen’s picture “ lacks the gritty sauciness of Hell in the Pacific”; John Boorman’s WWII film stranded Lee Marvin and Toshiro Mifune on a desert island and had them first duking it out before becoming reluctant bedfellows. Perhaps germanely, both movies were box office flops.