Release Date: December 19, 2002
Starring: Derek Luke, Joy Bryant, Denzel Washington, Salli Richardson, Earl Billings, Novella Nelson
Directed by: Denzel Washington
Written by: Antwone Fisher
Distributed by: Fox Searchlight Pictures
MPAA Rating: PG-13 (violence, language, mature thematic material involving child abuse)
It’s hard to say that more could have been expected from Denzel Washington in his first film behind the camera, Antwone Fisher. As told in the autobiographical screenplay by Fisher himself, the story of an orphan overcoming a horrendous childhood and finding his real family was the right material for Washington to get his directorial feet wet. Fortunately, he doesn’t make common rookie mistakes, like using flashy photography or tricky editing, and he’s able to share Fisher’s heartwarming tale with the help of fine acting and focused storytelling.
Actor Derek Luke is as new to feature filmmaking as Washington is to the director’s chair, but both appear just as comfortable in their different roles. The weight that Luke must bear in the lead -- carrying this family drama -- is perhaps an even great burden, but very rarely does he reveal his lack of big screen experience.
He plays a Navy seaman who has anger management problems and, after several altercations with his fellow sailors, is instructed to meet with naval psychiatrist Jerome Davenport (Washington). After stubbornly refusing to talk about his life, Fisher finally relents and allows the keen doctor to hear his bitter story of child abuse, which leads to an improvement in the young man’s character and an attachment to Davenport. While trying to woo a fellow sailor named Cheryl (warmly played by Joy Bryant), Fisher realizes that although Davenport has done much to help him, he won’t ever truly feel at peace until tries to find his real family.
Fisher’s story is indeed touching and worthy of being shared in this way. It has all of the elements of a first-rate drama -- harsh struggles, a personal awakening, and an emotional climax of redemption and individual strength overcoming great odds. Yet, the fact that it’s a true story doesn’t completely hide the fact that the events, though moving, often lean toward the formulaic.
The first act starts as abruptly as a made-for-TV-movie trying to cram as much exposition as possible into the first 10 minutes, but while this gives the movie a rocky start, it also allows for Washington, who easily gives the most magnetic performance in the movie, to have an earlier entrance. Davenport’s interaction with Fisher is reminiscent of the psychiatrist-patient relationship in Good Will Hunting and it’s equally engaging, but it would have been nice to have seen more of these sessions.
Fisher’s script does make certain narrative leaps -- his speedy personality change, for one -- and it contrives other things -- like the subplot of Davenport’s strained relationship with his wife and his initial bitterness towards Fisher because of it -- for the sake of dramatic poignancy. But since it’s based on often dry foundation of real life, viewers may be more forgiving about these inventions.
The ending is when the real payoff comes. Washington stays behind the camera for the latter half of the film and lets his two gifted young actors, Luke and Bryant, power the film with their constant determination. Though the result is predictably happy, it’s heartwarming enough to evoke the emotions that feel genuine. It’s at this moment more than ever that Fisher’s story proves not only to be a genuine triumph of the human spirit but also an excellent model of moral conviction for young adults.
Derek Luke is a wonderful find and unquestionably helps Washington’s first-time directing gig look even better. Even though it’s Washington himself that delivers the finer performance, he still only supports Luke, who, in turn, successfully carries the rest of the film.
Antwone Fisher, the man and the movie, are admirable and praiseworthy. And though some may say this film might not have been widely recognized without Denzel Washington’s name on the poster, nothing changes the fact that Fisher’s story itself is worthy of major acknowledgement.
all contents © 2002 Andy Zientek