![]() ![]() So what did this Oscar-worthy “Fences” keep in? Thanks to Wilson’s excellent source material, the dramatic exposition and analysis of America’s fraught racial history are second to none. For the last century or so, films have been capable of illustrating scenes, characters, montages, and visual effects that plays could only dream of. Conversely, while films grew out of plays in a sense, they moved on long ago. They’re capable of depth, dialogue, emotional development, expression, and experience that films are simply unable to convey––at least in as singular, personal, or meaningful a way. Plays are of course different than films. That’s because “Fences” as a play is far superior to “Fences” as a film. ![]() That specific metaphor of the symbolic fences in our lives that keep unwanted things out and needed things in applies not only to the plot and the meaning of the story, but in this case, to Washington’s film itself. While Troy sees the fence as an allegory to keep the Grim Reaper away, his wife, Rose-played near flawlessly by Viola Davis, who will most likely win an Oscar for her performance-explains that fences keep certain things out, but more importantly, they keep the things we want in. On a substantive level, the film’s title refers to the actual fence Maxson, played by Washington himself, builds throughout the film, finally finishing it in the third act. It’s always been a heart-wrenching story and exceptional play, but now, thanks to Denzel Washington, “Fences” has become a decent and at times impressive feature film about men, masculinity, mortality, dreams, hopes, plans, mothers, family, commitment, betrayal, duty, dissatisfaction, and life itself-in fact, even more so the meaning of life itself. ![]()
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