'Fences' Extends From the Stage to Film, Bringing With It All of Its Intensity and Verbosity

Viola Davis and Denzel Washington reprise their Tony-winning roles as Rose and Troy Maxson in the film adaptation of "Fences." Photos courtesy of Paramount Pictures.

BY VW

NEAR the beginning of "Fences,"  Troy (star, director and producer Denzel Washington) delivers a long monologue during a backyard scene.

My first thought was "Oh, Lord, it's going to be a play on the big screen." I wasn't prepared for this, thus prepared to be bored, for "Fences" is a very loquacious play.

It feels less like a play as the film unfolds, but never sheds that imprint. This is intentional.

"Denzel went back to the original screenplay, and he wanted to stay close to spirit of the stage play," Constanza Romero disclosed to the New York Film Critics Online (NYFCO) after its screening of "Fences" at Walter Reade Theater.

CR, a Tony-nominated costume designer, is the widow of August Wilson, the creator of "Fences," the Pulitzer Prize-winning play from which the film is adapted.

When DW phoned to get her blessing to direct the film version, she said she obliged.  "I felt like a green light  all the way, " CR said during the NYFCO Q&A.

"Fences," AW's slice of Americana set in 1950s Pittsburgh concerning the life of Troy Maxson, a onetime baseball great and garbage collector, as well as his family, opens widely on Christmas Day.

For those laboring under the assumption that "Fences" marks DW's directorial debut, it does not. That distinction goes  to "Antwone Fisher."

It has taken a while for "Fences" to come to the big screen mainly because of AW's edict  that it be directed by a black person. He produced a script, which was touched up by an uncredited Tony Kushner.

In his third outing as a director,  DW excels, particularly with himself by not overwhelming the proceedings with his consequence as the main character. The pacing is brisk  enough. "Fences" does not seem overlong at 139 minutes. Characters have organic movements,  seamlessly distractimg from all of the talk, for "Fences" is a loquacious film.

Emotions are on a tight coil, though the medium of film allows the players to let it rip. The camera subtly lingers on important details, such as an image of Pittsburgh steelworkers sans any black men, without looking askance. 

No doubt, DW admonished production designer David Gropman to keep the sets spare in deference to his source material. Surely, he had the budget to be more lavish.

The tension present in the play is as papable on screen. Viewers will find it difficult to watch at their ease, for almost every interaction is a tinderbox on the point of exploding. Even the most innocuous-seeming, as when best friend, Jim (Stephen McKinley Henderson), tracks Troy to a favorite haunt where they have a conversation heavy laden with meaningful nonverbal communication.

Troy (Denzel Washington) and Jim (Stephen McKinley Henderson) return from a day's work in "Fences."

Incidentally, the performances are generally stellar. The actors deliver like cogs in a well-oiled machine. All of the principals are reprising their Broadway roles, except the two youngest, Cory (Jovan Adepo) and Raynell (Saniyya Sidney).

Virtually every scene is powerful and significant. Two in particular stand out. The one between Troy and youngest son, Cory, is one. The boy stubbornly refuses to exhibit the manners he has been taught - Strike 3. Consequently, Troy is forced to demonstrate who is the man of his house.

A young lady with whom this reporter chatted during the reception following the film's New York premiere (at Frederick P. Rose Hall, home of Jazz at Lincoln Center Rose Hall) at Tavern on the Green, judged Troy's treatment of his son harsh.

Point taken, Father might have spared the rod a bit more, after all, the boy was not without some righteous indignation. Further, the punishment did not fit the crime. However, the young pup needed to be taught some facts of life. Specifically, some  respect; a non too-gentle reminder about who pays the bills; a refresher on to whom he owes his surly, ungrateful existence.

Rose (Viola Davis and Gab (Mykelti Williamson), far left, are spectators as Cory (Jovan Adepo) and Troy (Denzel Washington) talk football.

The other scene is Rose's (Viola Davis) confronting Troy about the fallout from his infidelity. Her dissertation is so passionate that viewers will be jolted by her pain, anguish and fury; an utter betrayal of one who has been unwaveringly loyal.

"In all of his plays, August tried to pay homage to his mother, CR responded when I asked her whether he would be pleased with the film.

The short answer is yes. However, she alluded to the aforesaid and a companion scene by way of a fuller answer. "He was very reverent of his mother," she added.

"Fences" is an important work in the pantheon of American artistic expression and important for numerous other reasons.

My preference is that it remained a play only. Alas, as such, far too few would have an opportunity to see it. As a film, it opens up to the world. One hopes the world will embrace it.

Jim (Stephen McKinley Henderson), Troy (Denzel Washington) and Cory (Jovan Adepo) in the Maxson backyard where a fence construction is in progress.

"Fences" has myriad teachable moments. About dreams destroyed. About extremely limited opportunities sanctioned by the State. About injustice. About the basic unfairness of life. About brokenness. About forgiveness. About love. About the black experience in America. About black history.  About American history. 

Just as important, it is a fine entertainment, showcasing fine performances.

"Fences" is rated PG-13 for thematic elements, language and some suggestive references; visit www.fencesmovie.com to learn more about the film.

A String of Discordant Notes in 'A Late Quartet'

"A Late Quartet" is interesting on several levels.

It has going for it its musical aspect. European classical music along the lines of Beethoven’s arduous Opus 131. A glimpse into the process and interior lives of the players in the form of top musicians who probably studied at the Julliards, Berklees and Oberlins of the world. New York is apt as the setting of this rarefied milieu in that it is one of the world’s most superlative cities, home to the highest of high culture and the lowest of low culture.

Hanging in the air like a resounding note, threatening the demise of the fictional Fugue String Quartet, is the medical diagnosis at the center of “A Late Quartet.” If the diagnosis won’t be the foursome's undoing though, surely it will be the drama surrounding these very fine, refined folk, for it descends to the level of reality TV, albeit without a surfeit of cussing and coarseness. (See video above.)

A few examples: Second violinist gives first violinist to know that the former wants the position of the latter; voila-playing wife of second violinist believes her spouse is being an utter ass and tells him, employing very civilized tones to do so; outraged, second violinist has an extramarital affair; first violinist – for lack of anything better to do? – begins sleeping with the daughter of second violinist and viola player. It’s all handled with dignity, as these thing go.

Reality TV – particularly the variety that features wives, ex-wives, mistresses, shorties and others of their ilk – could borrow a page from “A Late Quartet” on how to depict misbehavior on a colossal level without casting anyone in the role of the most bilious buffoon in doing so. The independent film opens in New York and Los Angeles today. Also opening in the United States today after its world premiere at the 50th New York Film Festival is "Flight." The film stars Denzel Washington as a pilot who safely lands a plane only to have questioned some of his actions before that fateful event. (http://www.bitly.com/QDFpvk)

Meanwhile, perhaps these characters in "A Late Quartet) can pull off petulance with aplomb because they are played by real acting talent. Christopher Walken is quartet leader and cellist Peter who has been diagnosed with a debilitating disease; he tends to stay out of the fray. As Peter, the actor proves that he can play subtlety as well as insanity when the role calls for it as this one clearly does, while in “Seven Psychopaths” the role of Hans and countless others he has undertaken clearly do not.

Philip Seymour Hoffman (second violinist Robert) is fresh off a masterful performance in “The Master” (http://www.bit.ly/R0yhx7). For his part, he has not hit a false note, dating to “Capote.” Rounding out the major players in “A Late Quartet” are Catherine Keener (viola player Juliette), Wallace Shawn (first violinist Gideon) and Imogen Poots (Alexandra, daughter of Robert and Juliette).

Catherine Keener and Wallace Shawn as half of the team in “A Late Quartet.” Photo from WestEnd Films.

It’s a pity that “A Late Quartet,” directed by Yaron Zilberman and based on a story of this music lover, won’t make it to many of the metroplexes. Alas, it is more of an arthouse film.

It is not nearly often enough that intelligent films such as "A Late Quartet – the melodrama, not withstanding – reach the masses in the United States, huge consumers of reality TV. The masses could also benefit by its example.

“A Late Quartet” is rated R for language and some sexuality. Visit
http://www.westendfilms.com/films/current/late-quartet to learn more about “A Late Quartet.

Last Day NYFF50: 'Flight’ Brings It to a Close

“YOU’LL never have to buy another drink for the rest of your life,” a friend (John Goodman) assures “Whit” (Denzel Washington).

For about 15 minutes that looks to be true for commercial pilot William “Whit” Whitaker who safely lands a malfunctioning airplane, saving many lives in the process. He’s an immediate hero with all of the media buzz and other trappings – that is until an investigation begins into a part of his past that calls into question his judgment.

Not only are those drinks drying up – and drinking is the last thing Whit wishes to do at the moment – prison may be in his future unless his innocence can be proved. Once praised, he is now being pilloried, until such time that an “all clear” from a review board can restore his good name and hero status. (See trailer above)

This is the premise of “Flight.” It makes its world premiere tonight as the closing film of the 50th New York Film Festival. It opens in wide release in North America on 2 Nov. and continues to rollout across the world through late February 2013.

“Flight” has been getting notice for a few reasons. First, it is the first collaboration between DW and director Robert Zemeckis. Second, it is RZ’s return to the action-thriller format since “What Lies Beneath” and “Cast Away,” both from 2000.

Around NYFF50, “Flight” has produced quiet grumbles. For purists, it and others are further evidence of how commercial the festival is becoming, particularly with the departure this year of the Film Society of Lincoln Center programming director Richard Pena. The society organizes NYFF.

“Are you kidding – “Not Fade Away,” sneered one critic who did not wish to be identified in referencing the festival centerpiece directed by David Chase. He is best known for the HBO series, “The Sopranos.” Festival-opener NYFF “Life of Pi,” received tepid reviews from many, especially those who accused it of having religious undertones. That latter assertion, notwithstanding, the film is plodding. The sequences set in the present have an unreal quality and wasted the talents of Irrfan Khan.

For better or worse, “Flight” is a competent-enough film. It will likely do good business at the world box office, pleasing its producers and proving to detractors its unsuitability for certain venues on the film festival circuit.

… Visit http://www.filmlinc.com/ to learn more about the 50th New York Film Festival, including show times and ticket information.