Undeniable Black Narrative Talent in ‘Fences’

If you’re in denial about ‘black excellence’, feast your eyes on this year’s Academy Awards season. With ‘Hidden Figures’, ‘Fences’ and ‘Moonlight’ all earning nominations as well as the awards for Best Supporting Actress, Best Supporting Actor, Best Adapted Screenplay and Best Picture, black narrative talent is more undeniable than ever with ‘Fences’ exploring the lingering issue of overlooked black mastery in its text.

Based on the Pulitzer prize winning drama by August Wilson, ‘Fences’ stars Denzel Washington and Viola Davis who reprise their Tony award winning roles in the film.

Set in 1950s Pittsburg where a black father and his family struggle to make ends meet and allow dreams to bloom amidst the crushing reality of racial discrimination, ‘Fences’ tells the story of Troy Maxson, a once skilled ‘Negro league’ baseball player whose talents never earned him so much as a pot to piss in.

Haunting him in repetition is his son Cory who shows an aptitude for football and is promised a scholarship as well as a chance to play in the major leagues as segregation eases up in the sporting world.

Bitter and unconvinced, Maxson viciously dashes his sons dreams with the reality that black people will always have to work twice as hard to have half of what white folk do, if they’re given a chance at all.

As true today as it was when Wilson penned his play in 1983, ‘Fences’ delivered its harsh admonishments of the establishment even as it shone as a contender in one of the most prestigious arts awards ceremonies in the world.

Outstanding in its Pulitzer prize, Tony Awards and recent film revival, ‘Fences’ stands tall as an example of black excellence in a year that has begun with its celebration.

Reprising a role originated by James Earl Jones, Washington gives life to the ranting, euphoric, oscillating Maxson in a manner that stays true to Wilson’s breathless anecdotes in an indisputable presentation of the late playwright’s prowess.

Directed by Washington himself and starring the phenomenal Viola Davis, the film plays unapologetically like something for the stage with dialogue heavy scenes and silences taking place primarily in the family’s backyard and kitchen.

Weighty, poignant and demanding that one tune in and catch up with Maxson’s almost manic cadence, ‘Fences’ runs for well over two softly-lit and affecting hours.

A story of a man overlooked and grasping for some esteem in life while his son manages to conjure up some of his own, ‘Fences’ also tells the currently controversial but then commonplace tale of the dutiful black wife who gives up her entire life to make sure her man makes the best of his.

Offering just a few locations and no gimmicks beyond the sheer weight and power of Wilson’s words, ‘Fences’ is a must-see for its continued relevance, its 30 years of accolades and for the beauty of its story about an enigmatic father caught up in myth of himself and the fences that keep his family in or estranged.

– martha@namibian.com.na; Martha Mukaiwa on Twitter and Instagram

In an age of information overload, Sunrise is The Namibian’s morning briefing, delivered at 6h00 from Monday to Friday. It offers a curated rundown of the most important stories from the past 24 hours – occasionally with a light, witty touch. It’s an essential way to stay informed. Subscribe and join our newsletter community.