The movie that proves plays can be adapted into really good movies: Fences. It didn’t look like a play. It didn’t feel like a play. But its focus was on the essence of any play: acting and dialogue. There wasn’t fancy, eye-catching camera work or a flashy score. No special effects. Just sparkling, dazzling dialogue and mesmerizing performances from everyone in the cast. Two minutes into the film, I was hooked.
First, let’s discuss my favorite thing to discuss in these rambles: metaphors! Fences were pushed to their literary limit, and I mean that in the best way. There’s nothing like a tenfold metaphor that happens to double as the film’s title. First, there’s the obvious– the barrier between blacks and whites in that time. There was an insurmountable divide between the two in America in the 1950s, and the movie emphasizes that without ever overstepping the line into preaching or handholding. It’s in every scene: were there any white characters? I don’t remember, and I don’t think so. If I remember correctly, the only white person with dialogue came from the scene where Troy was about to go ask to be a driver, and the tension between them was palpable. It’s in every one of Troy’s electric dialogues. Continue reading “Fences”