From the outside, Troy Maxson (Denzel Washington: The Magnificent Seven) has a pretty good life. He has a steady job as a garbage collector, an adoring wife named Rose (Viola Davis: Suicide Squad) and a nice house in a Pittsburgh neighborhood. A born storyteller with a gift for hyperbole, Troy enjoys spinning colorful yarns as he drinks his weekly bottle of gin with his coworkers. In the late 1950s, it’s as close to living the American Dream as any black man could hope to get.
Troy, however, is not content. A once-great baseball player, he resents the racist system that kept him from playing pro ball. He keenly feels the injustices that have kept him from greater success in work and at home.
Some of his complaints are solidly founded. Black men must empty the garbage cans, not drive the trucks. The army refuses full compensation to Troy’s brother and veteran Gabe (Mykelti Williamson: Designated Survivor), who runs the streets disturbing the peace.
Some complaints are less valid. Troy sees his son’s football skills as a curse and will hear no talk of football scholarships or college. He doesn’t trust sports, even after Jackie Robinson broke the color barrier. He wants his son to learn a trade and work after school.
As the years wear on, Troy obsesses over the idea that his life has been wasted.
Based on August Wilson’s play of the same name, Fences is a stirring drama about the effects of systemic racism on the black family. Washington, who also directs, brought this adaptation from stage to screen, retaining most of the 2010 revival cast for the film. This was a brilliant choice.
As the leads, both Washington and Davis are remarkable. Washington makes Troy a deeply flawed but fascinating character, full of contradictions. He’s a charming rogue, a born storyteller and selfishly obsessed with what he’s owed. He revels in pointing out his son’s flaws, building himself up as the only true man in the family, even as he’s riddled with insecurity.
As his wife Rose, Davis plays Troy’s polar opposite. Quiet and kind, Rose is more than a devoted partner. She is in many ways the heart of the play, sacrificing her own strength and emotional wellbeing for her family. Davis makes Rose’s inner turmoil both poignant and relatable.
The film’s weakness is cinematic production. Washington borrowed not only the play’s cast but also its staging conventions. You feel like you’re watching a play. In those confines, action seems stilted. There is also a play’s long running time, well over two hours. Viewers whose theatrical tastes were formed at the movies may grow bored.
Great Drama • PG-13 • 138 mins.