The movies I end up loving the most are often the hardest to review, so bear with me as I attempt to tell you why I adored “Antwone Fisher.”
Antwone Fisher (Derek Luke) is a troubled young man. A sailor with a history of violent outbursts, Antwone seems trapped within the confines of his own rage and guilt.
Enter Jerome Davenport (Denzel Washington), the naval psychiatrist charged with unearthing the seeds of Antwone’s dysfunction. From there… OK, time out! From this point on we all know the drill. As is the case in nearly every doctor/patient movie ever made, doctor helps patient unlock deeply guarded inner secrets, while patient unknowingly leads doctor to some higher form of enlightenment and appreciation for life. In this regard, “Antwone Fisher” is no different from any of the countless other films in this genre (housing everything from 1948’s “The Snake Pit” to 2001’s cheesefest “K-Pax”). Basic structure is all that these films have in common with “Antwone Fisher,” a film which rises above a tired genre by focusing on its characters and following its story to a realistic and logical conclusion.
This is a film full of genuine emotion and honest drama. Never does it try too hard to hard to make the audience “feel something” by emasculating the dialogue of nuance or subtext or by pumping up the melodramatic “weepy” music on the soundtrack. What separate this movie from so many of its more plastic predecessors are its intelligence and its respect for the subject matter as well as the audience (rare to get both of those at once!). It is also a film that thankfully never uses the fact that it is based on a true story as a crutch or eleventh-hour trump card. Perhaps this is because the script was penned rather honestly by the story’s central protagonist.
That’s right. In case you didn’t know it before cracking open The Reflector and reading my humble column, “Antwone Fisher” was adapted from the real life story of Antwone Fisher by none other than… Antwone Fisher. The story itself is a corker, and the realism quotient is high because the author actually lived the subject matter. Just as importantly though, Fisher has written a very good first screenplay. Divorce this film from the preconceived notion that it is a “TRUE STORY,” and you still wind up with a far-above-average coming-of-age story.
Fisher’s greatest writing accomplishment is his way of letting characters flesh themselves out slowly and believably. The characters onscreen here feel more real than most in other movies. There are subplots that exist not just to make a point or push the audience’s buttons. These characters have their own lives aside from the central conflicts of the story, and when the central conflict does materialize it is handled with both clarity and sensitivity. Resolutions aren’t always tidy; there is a wonderful feeling at the end of the movie that we have not really seen how the story ends. Life will keep on going for these people long after the credits have rolled. I liked that feeling.
This movie is a grand example of what I always think of when people say, “They don’t make ’em like that anymore.” This is old-style Hollywood filmmaking at its earnest best: a good story, heartfelt performances, and a sturdy production. Putting all these pieces together is first-time director Denzel Washington. Bringing the same focus and energy he does to acting, Washington makes a very respectable debut behind the camera. He handles the story’s deviations and changes-for instance, Antwone’s romance with the understanding Cheryl and his third-act odyssey to find the family he was displaced from as a child-with assurance and occasional inventiveness. One key scene, in which Antwone reveals horrible instances of sexual abuse from his childhood, is mounted quite theatrically, with very effective use of lighting and editing. Ambition never overpowers the thrust of the film, though, and Washington seems very genuine in his desire to do justice to the subject material.
All of these plusses would mean nothing if the actors didn’t bring the characters to life onscreen. This proves to be a non-issue, because all of the performers do admirable work here. Washington is stunning as always, forming yet another characterization burning with intelligence, vulnerability and screen presence to spare. Joy Bryant is remarkably fresh and appealing as Cheryl, but the unrivaled star of the film is Derek Luke. Bursting onto the screen in his film debut, Luke lets you know by the time this movie is over that he is destined to be a star. He has a good chemistry with both of his major co-stars, and he shows his considerable range bringing completely to life a character by turns filled with longing, rage, love, sadness and joy. His performance is infectious, one of the best of the year, and it makes me hope to see much more of him in the future. (Speaking of range his next film is the action spectacle “Biker Boyz” with Laurence Fishburne and Kid Rock. Keep your eye on this guy!)
I feel I can’t praise this film enough without sounding utterly ridiculous. Take my word for it. See this movie. Even if you aren’t the type who usually goes for this type of drama, you might be surprised at yourself once this movie gets its hooks into you. This film wears its heart on its sleeve and does so without being patronizing. Even a confirmed cinema cynic like myself broke down in tears twice (if I cry twice at the movies all year, it’s typically a miracle). With awards season kicking into high gear, it is this critic’s hope that the Academy finds a place on the roster in this unusually competitive year for this beautifully-realized film. Full of energy, pain, and the vibrancy of life, “Antwone Fisher” is one 2002’s best.