With an Oscar for Training Day behind him, Denzil Washington clearly decided a new challenge was in order. Antwone Fisher, which sees the veteran star take the director’s chair as well as one of the lead roles, is clear evidence that the decision paid off.
It sounds unpromising on paper. Young black man in US Navy gets disciplined for repeated violent outbursts, before being sent to a psychiatrist – cue battle of wills and nostalgic reminiscing. One might even be tempted to say it has been done before, with both Good Will Hunting and Finding Forrester visiting similar territory. Being reduced to a synopsis might not do it any favours, but Antwone Fisher offers excellent performances and a sharp plot.Derek Luke’s portrayal of Antwone is particularly impressive, given that it marks his first appearance on the silver screen. Washington, who as well as directing the piece, appears as Antwone’s psychiatrist, continues to hone his reputation as one of Hollywood’s leading actors. Although there are moments when one worries that the focus is in danger of shifting too much onto Washington’s character – and in the case of the duff tacked-on end scene, it does precisely that – for the most part the actor-director is content to leave the limelight to Luke.
Unlike most films which cover such a broad range of issues, Antwone Fisher remains solidly character- based. That in itself is an achievement; any film which can cover racism, child abuse, sexual dysfunction, and a host of other hot topics without turning into an issuesdriven drama is to be commended. That the treatment of these diverse areas never succumbs to trivialisation or mawkishness is even more surprising, and accordingly welcome. That’s not to say that there is nothing here to get choked up over. On the contrary, those who enjoy crying at the cinema will probably have a field day. But the difference between the touching scenes of Antwone Fisher and standard Hollywood fare is highlighted by the fact that none of them feature the usual bucketloads of sentimental music employed to remind the audience that tears are expected of them. Here, where one is moved, one is moved because the images, the performances, the dialogue, are genuinely moving.
There are occasional strains on credibility given that this is a true story, not least of which is the War on Terror-fighting US Navy’s apparent saintly patience when confronted by the prospect of an unhinged psychopath in the ranks. But these are minor quibbles to present against such a film, and certainly don’t amount to a sufficient excuse for failing to see it.
ARCHIVE: 3rd Week TT 2003
Antwone’s Fishing for Compliments
