Denzel Washington returns to the director’s chair… | Little White Lies

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Den­zel Wash­ing­ton returns to the director’s chair for Fences

22 Aug 2016

Words by Poppy Doran

A man with a serious expression wearing a green jacket, grasping a weapon.
A man with a serious expression wearing a green jacket, grasping a weapon.
The icon­ic lead­ing man is set to bring an acclaimed stage­play to the screen.

Den­zel Wash­ing­ton chews scenery like most actors eat break­fast. So rejoice, then, that he’s going to be mak­ing mul­ti­ple appear­ances on our screens in the lat­ter parts of 2016. First, there’s going to be his star­ring role in Antoine Fuqua’s The Mag­nif­i­cent Sev­en – the cov­er film of Lit­tle White Lies issue 66. A sequel to his shoot-em-up revenge saga, The Equal­iz­er, is also going into pro­duc­tion, pen­cilled in for release in the Autumn of 2016.

But it’s excit­ing to see that he’s lay­ing down his trusty firearms this Decem­ber with the peri­od dra­ma, Fences, which he also directs. Wash­ing­ton plays Troy Max­som, a Pitts­burgh-based trash col­lec­tor whose failed dreams of pro­fes­sion­al base­ball have left him angry at the world. It has all the ingre­di­ents of a sear­ing snap­shot of a strug­gling black fam­i­ly, set against the cli­mate civ­il unrest in 1950s America.

August Wil­son – who wrote the play on which the film is based in 1987 – is posthu­mous­ly cred­it­ed as the sole screen­writer, although Spiel­berg reg­u­lar Tony Kush­n­er was brought on to assist with the stage to screen adap­ta­tion process. While this is a touch­ing trib­ute to this two-time Pulitzer Prize win­ning play­wright, it also sug­gests that Wash­ing­ton is aim­ing to emu­late the high­ly-acclaimed mag­ic of the orig­i­nal stage ver­sion, as close to word-for-word as he can.

In an inter­view with Spin mag­a­zine in 1990, Wil­son said he would only endorse a black direc­tor to ush­er his Pitts­burgh Cycle” to the cin­e­ma, call­ing for, some­body tal­ent­ed, who under­stood the play and saw the pos­si­bil­i­ties of the film”. With much of the cast, includ­ing leads Wash­ing­ton and Vio­la Davis, repris­ing roles from the stage, Wilson’s wish appears to have been met in all senses.

This is a sto­ry which offers a com­men­tary on the black expe­ri­ence in Amer­i­ca, and Wash­ing­ton has pre­vi­ous­ly kept ques­tions of race and iden­ti­ty at the fore of his direc­to­r­i­al work, receiv­ing acclaim for his 2002’s explo­ration of child abuse, Antwone Fish­er, and his 2007 tale of debat­ing whiz, Melvin B Tol­son, The Great Debaters. Fences is already being talked up by some out­lets as a poten­tial awards con­tender – per­haps Wash­ing­ton will next year snag his third Oscar, for his work behind as opposed to in front of the camera?

Boast­ing a pre­dom­i­nant­ly African-Amer­i­can cast and crew, on-screen wife Vio­la Davis took to social media to say with regard to this achieve­ment: this is his­to­ry”. She also praised her peer, call­ing him, a great direc­tor, great actor, great man” while on loca­tion. It goes with­out say­ing that Wilson’s mate­r­i­al appears to be in extreme­ly capa­ble hands. After all, if Vio­la Davis thinks you’re doing some­thing right, you’re doing every­thing right.

Fences is set to open in US cin­e­mas on 25 December

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