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It's her authentic portrayal, as well as the subdued work of Stephen McKinley Henderson as Troy's friend Jim, that I will remember long after having seen the Navigation Software Object Desktop Your complete Windows customization suite. The studio may have marketed her achievement as a supporting role to secure an Oscar nomination (and possible win), but she is no doubt equally important in this context. She seizes attention whenever she is on screen. However, I found myself sympathizing with her plight a lot more than her husband's. It may be Troy's story in that every part exists to reflect his personality. A woman so fully formed that I was even more drawn to trying to understand this individual. Denzel is extremely good and Viola is extraordinary. Needless to say, Washington and Davis know their characters inside and out. Denzel and Viola are reprising their roles from the 2010 Broadway revival. This is a richly written ensemble pieces that heavily relies on powerful performances. What really elevates Fences is the acting. To Sum it Up: Great Fences Make Great Viewing This review calls it: the whole damn point. In fact, save for a select number of scenes, the action rarely leaves Troy's property, which hammers home the point of a piece about barriers. The definition of faithful adaptation, Washington's take smartly keeps the setting limited. Also, some directors would have sprawled out the canvas to include more locations.to the detriment of the material, however. Owing to the fact that the character does so much with so little, going big and loud (we're talking the theater space-not the actor, who does an excellent job) almost robs him of a powerful moment at the end. Other characters, such as Troy's mentally challenged younger brother Gabriel (Mykelti Williamson), don't have quite the same impact on the screen as on the stage. These two actors perfected their characters' chemistry during a 2010 limited Broadway run, which makes for a dynamic synergy on screen. It's an electric turn made all the more electric by Davis' amazing role as his long-suffering but dedicated wife, Rose. In his performance of Troy, Washington mines every possible nuance from a man who puts up so many emotional, ahem, fences. He is the architect of his own destruction, of course, which makes this flawed character so rich and undeniably human. Unfortunately for those in his orbit, these moments come between long stretches of him tearing down his wife and son as he takes out his bitterness with life on them. Undeniably charismatic, he flashes moments of warmth. His pro-baseball prospects derailed by a stretch in prison, he has survived the ebbs and flows of life, albeit not gratefully. His Troy, Fences's protagonist AND antagonist, is both a defeated man and often a defeater of other men. Here, he gets sole credit as screenwriter and every beat of his seminal work remains intact. Though the writer speaks primarily from the African-American perspective and experience, his beautifully written (though not always beautiful) characters voice a multitude of universal truths. So too stands the work of Wilson, an always pointed, poetic, and meticulously crafted treatise on American life. It has been said that James Joyce never wasted a single word or piece of punctuation in his career-every last character was carefully chosen and meant something. And, before any classics muckety muck gets heated with this review for comparing the author of Fences to the Bard, let them be reminded: When it comes to "The Pittsburgh Cycle," you compare Shakespeare to Wilson.
For much the same reason, Washington's latest turn in the director's seat deserves much the same response-if not more because his setting doesn't allow for as much latitude as the certain tale of a Danish prince. A limited release kept the film from making a profit in theaters, but glowing reviews and awards soon followed. When Kenneth Branagh spent $18 million adapting the entirety of Hamlet into a 4-hour H'Wood film in 1996, the move seemed rather bold.
The works of William Shakespeare have appeared in a digest form pretty much since first hitting the screen. The long-form has become abridged to accommodate short attention spans. In our hyperlink-filled culture, there are far too many jumping off points before you get the whole story. In this PG-13-rated drama, a working-class African-American father (Washington) tries to raise his family (Viola Davis, Jovan Adepo) in the 1950s, while coming to terms with the events of his life. In sparing not a word of August Wilson's Pulitzer Prize-winner, Denzel Washington's brilliant unabridged treatment of his searing family drama packs an emotional wallop thanks to spot-on performances and a narrative that's allowed to breathe because it's not, well, fenced-in.