Antwone Fisher
Picture: B-
Sound: B- Extras: B Film: B+
Powerful. This was
the word repeated over and over and over again by critics when Antwone
Fisher (2002) received its decent theatrical film release from Fox’s
Searchlight division. It is fair to say
critics were right, but they simply did not go far enough to explain what a
remarkable film the directorial debut of master actor Denzel Washington
actually was.
Despite the fact that it was based on a true story written
as autobiography by the real life Mr. Fisher himself, a poet, survivor, Navy
man, and now incredible screenwriter, that rare kind of breakthrough was not as
noted. This is not to criticize the
critics who praised it, but to point out even the best critics seem to have
lost their way to get behind a film and get the public in on it in a way that
massive advertising dollars cannot. It
is a sad comment on the critical establishment we have often criticized in the
negative here at the site.
One factor they may not have been able to overcome is an
institutionalized racism in the media that killed the Black New Wave sooner
than it would have run out otherwise.
Perhaps some doubted Washington directing, but it turns out he was
absorbing incredible experiences with some of the greatest filmmakers of all
time that he has worked with since his run on the TV classic St. Elsewhere
gave him his first camera experiences with excellence. Yes, this is a debut worth of Clint
Eastwood’s Play Misty For Me, Tim Roth’s The War Zone, and Kevin
Costner’s Dances With Wolves as exceptions to actors who try directing.
To overcome that media racism, it would have taken a Roger
Ebert to push it the way he and the late (and MUCH missed) Gene Siskel went
banzai pushing Hoop Dreams, the massive 1994 documentary that exposed
the Oscar’s arrogant and racist voting procedures in that category. Washington’s film did not get any Oscar
consideration, though he and Halle Berry had just landed landmark Oscar wins
for lead actors. Fox also had the
stunning Mark Romanek film One Hour Photo in the same Searchlight
division. The factor that may have most
hurt the film promoted was simply that films are rarely this good, honest,
intelligent, and have the kind of remarkable stories to tell films rarely bother
with anymore.
So many films that were awful have been promoted as
powerful, but Antwone Fisher is rare in that it is the real thing. An overdose of so-called “feel good” movies
that feel awful are now hurting films like this. Also, if audiences (of any race, color, creed, etc.) thought they
would be getting another typical such story from an actor who just happened to
have the clout to make a feature film.
Why Fox and the producers did not understand these basics cost them
money at the box office and audiences a chance to see a great film on the big
screen. Fortunately, the DVD is
exceptional and widely available.
This nearly epic story involves the title character (Derek
Luke in a brilliant early role) in his early days with the U.S. Navy. He has a major temper problem and quickly
finds himself locking horns with the Captain of his ship (James Brolin, in a
welcome cameo). We have heard of the
many angry men who have joined the military and had their lives straightened
out by the high standards service entails, and Fisher is sent to have three
sessions of psychiatric help. Dr.
Jerome Davenport (Washington) is in the same position Robin Williams was in
with Matt Damon in Good Will Hunting (1997), the patient giving the
doctor the silent treatment. Both keep
having the “subject” return and conduct other work while waiting to hear about
something, and both eventually start to speak, but the similarities end when
Fisher’s life is revealed in bits and pieces not unlike a Mystery film. The revelations are so real, convincing,
natural and logical that you cannot stop being interested once you realize what
a good guy he is deep inside. Then you
also want to know more to know yourself and people around you, and the film does
not disappoint.
When the three sessions are over, it is obvious Fisher
still needs help and Davenport decides to break protocol and keep seeing
him. It turns out Davenport is also in
need of some resolutions in his life, as there is some unrest and pain in his
marriage to his beautiful, loving wife Berta (Salli Richardson). We have heard the stories of people who had
tough lives and either became evil or overcame and triumphed, but Fisher’s
story gives new meaning to the term “injustice” and cannot be spun away into
commonness or easy explanation by anyone who considers themselves decent. The young Fisher (played by Malcolm David
Kelly & Cory Hodges) suffered through a living nightmare for which so many
persons are to blame, but the film is not preachy about it or corny in stating
the obvious. It NEVER becomes sugary or
schlocky and is always real about its subject matter.
Furthermore, it offers no simple solutions, easy answers,
or lies to its audience to console their fears so they’ll go to the mall on a
happy buying spree. As a matter of
fact, what it says about us and shows about the United States, pro and con,
this is one of the most significant films about America made in the last few
years. Its power is in its range, which
far exceeds race, as this could, can and does happen to far too many people in
the U.S. day after day after day. It is
a massive triumph, made more amazing by the fact that this was actually made at
a major Hollywood studio (!!!!!!) in an age where most such films are brutally
soulless. Child abuse, exploitation, abandonment,
and disregard are a disgrace in the world’s most powerful nation, and I don’t
care how many terrorists we are facing.
This is one of the wars at home with not enough of its battles begin
won. Antwone Fisher is truly a
landmark and overwhelming light that will be recognized as a classic,
especially after it becomes a touchstone hand held out for the millions who
will see it and know there is a better life.
Not even its participants seem to realize what they have achieved here,
but they soon will know, for such greatness will follow them for the rest of
their lives.
The 2.35 X 1 image is anamorphically enhanced and nicely
transferred for the most part, though sharpness can vary at times, while Video
Red can occasionally be an issue.
Otherwise, it will take a D-VHS D-Theater High Definition tape to top
this. The Dolby Digital 5.1 AC-3 is
better than usual for a dialogue-based film.
There is some subwoofer activity, but that is actually reserved (as a
nice change of pace) for punctuating moments of the narrative. Imagine that! The fine extras include trailers, some fine featurettes on the
making of the film, the U.S. Navy, and the real Antwone Fisher himself, and a
thorough commentary by Washington and Todd Black. Black is one of he smartest producers in Hollywood and all
filmmakers should pay attention to him as much as Washington.
As a final example of how great the film gets, after the
film has surprised us over and over again, Fisher goes to Cleveland to find his
family and himself. He is joined by a
love interest, Cheryl (the incredible Joy Bryant), though even she cannot be
with him for some of the darkest moments.
Just when we have been taken so many places on a personal level and
through its locations, he has to go to the poorer part of the city. It is so striking because the poverty of the
place reflects the unnecessary poverty of this country and how low people can
feel anywhere. We all suffer, as the
ever-brave singer Annie Lennox recently stated. That is ultimately the absolute truth this film speaks loudly and
clearly, a truth our critical film establishment could not get clearly out of
their throats because most of the films they are subjected to are designed to
suppress this truth. Even they are
victims, but Antwone Fisher refuses to play that game and that is why it
is a winner!
- Nicholas Sheffo
