We all know about Alonzo Harris (Training Day). Most of us know about Frank Lucas (American Gangster). Some of us even know Tobin Frost (Safe House). Add Troy Maxson to that list of vile characters portrayed by Denzel Washington. Okay, so the character he portrays in Fences (a movie he also directed) isn’t AS bad as the characters portrayed in those aforementioned films. He’s a different kind of bad. There is some good in Troy. I think he means well. But he is a complete hypocrite. He talks about doing right by others, providing for his family, and teaching them the importance of right over wrong. But in the end, Troy does only things that fill his massive ego. And in doing so, he hurts every single person who has ever cared for him.

Who stands out the most? It’s a toss-up between Denzel, who is in every scene for the first 90% of the movie, and Davis, who commands each of her scenes (about 70% of the film). Only Ryan Gosling and Emma Stone (La La Land) had better chemistry in 2016. Ironically, individually Gosling and Stone have less chance to capture an Oscar than Washington and Davis. But, unlike La La Land (which is a movie where you’ll forget about every performance other than that of its leads), Fences has a supporting ensemble that not only complements the performances of Washington and Davis but helps elevate their performances to an even greater level. A friend asked if I thought Henderson (who plays Troy’s co-worker, neighbor, and his oldest friend Bono and is the voice of reason in this movie) or Adepo (who plays Troy’s youngest son Cory and really represents all things good in this film) had a chance at a Best Supporting Actor nomination. Both men, who were relatively unknown before this film, have a chance. Both were great. I would say Henderson was a little bit better, but Adepo brought out a side of Washington that allowed him to soar when the two shared screen time. Also delivering great performances were Troy’s war-damaged brother Gabriel (Mykelti Williamson – August Rush, Three Kings), who Troy takes advantage of by using his welfare checks to buy for payments on his house, and Lyons (Russell Hornsby – Something New, Get Rich or Die Tryin’), Troy’s adult son from a previous woman. Lyons is an aspiring Jazz musician who slowly makes a name for himself, but Troy refuses to see him perform at a downtown club.

In addition to the finest acting ensemble on film this year, what also stands out is the writing and Washington’s keen sense of direction. August Wilson’s Pulitzer Prize-winning film, which premiered on Broadway 29 years after its 2016 movie release. Washington starred in Fences when he played on Broadway in the spring of 2010. For the film adaptation, he brought a majority of the cast, which included Davis, Henderson, Hornsby, and Williamson. Their chemistry is flawless. Troy’s house is shot almost entirely, whether in his kitchen, family room, front porch, or backyard. It’s 1950’s Pittsburgh, but the only things that couldn’t apply to a different time era were things like the style of clothing, furniture, and the like. Troy is a garbage collector who is living, more or less, from paycheck to paycheck. He dreams of driving one of the trucks and giving his tired, old bones a break. But it seems like those opportunities go to the less qualified white men in his company. Every Friday, he winds down at home with his best friend Bono and a bottle of gin. He says he’s not a big drinker but makes an exception on Friday afternoons after work. It’s basically what he lives for.

For the most part, a likable man with a jovial side, there is a fit of brooding anger in Troy that emerges, sometimes, out of nowhere. He’s a jokester. He’s a storyteller. Sometimes, when he is under the influence on a Friday afternoon, the stories of his past become more of a work of fiction in which, with each retelling, he becomes a little more the hero (note: he’s much like my own father in this way). It’s easy to see why people would like him, and his wife Rose (Davis) would love him. He’s a charmer. He’s easy to talk to. He works hard and provides for his family. But set this man off, and he is not a guy you want to be around. He’ll rip into anyone verbally (except for Rose and Bono). Those who feel his wrath the most are his two children. There is hostility towards both of them, and it’s never more than surface deep. He sees Lyons as a 30-year-old man who knows exactly when his father’s payday is and comes over to visit so that he can bum money. He seems to resent his son for following his dreams of being a musician rather than working a blue-collar job he hates, much like himself. The anger he has for his younger son is even stronger. Cory is a senior in high school and is being recruited by colleges to play football. Troy, a former Negro League baseball player, feels like he could have been a major league baseball player if not for his color. This was before Jackie Robinson broke the color barrier, and it’s almost as if Troy resents Robinson for that. He missed his chance at his dream and is instead living a life he doesn’t want to live.

Rose knows when to challenge Troy and when to let him get everything out. She’s protective of her son but also knows of her place as a woman in the 1950’s. All you have to do is watch this trailer to see the scene where Troy and Rose have a heated conversation where the tension between them and their life has boiled to the surface. The scene in the trailer is enough to get both Washington and Viola Oscar nominations, and that’s not an exaggeration. But that is just part of the scene. It is longer and even more powerful than what you get in those 30 seconds.

This film is a well-crafted character study, dialogue-driven, and not for everyone. If you’re expecting more than talking and interaction between characters in a fixed setting, you might leave disappointed. But if you’re willing to sit back and relax and take in the fabulous performances of the best cast ensemble of the year, you’re going to be able to apply much of what you see to your everyday life. I won’t even get into the symbolism that I read about after seeing the movie, but it was so subtle that I barely noticed it during my initial viewing. So while I expected this would be a top-five movie of 2016, I left disappointed. It’s likely to end in that 10-15 range for me. But that doesn’t take away from the fact that it was a fine film and probably should be seen by anybody who likes great writing and great acting. However, I don’t think this one in particular needs to be seen on the big screen.

Plot 8.5/10
Character Development 8.5/10
Character Chemistry 10/10
Acting 10/10
Screenplay 10/10
Directing 10/10
Cinematography 10/10
Sound 9/10
Hook and Reel 9/10
Universal Relevance 10/10
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