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Notes from Underground

  And, indeed, I will ask on my own account here, an idle question: which is better—cheap happiness or exalted sufferings? Well, which is better?---Fyodor Dostoevsky ---Notes from Underground Fyodor Dostoevsky ---Notes from Underground Even now, so many years later, all this is somehow a very evil memory. I have many evil memories now, but ... hadn’t I better end my “Notes” here? I believe I made a mistake in beginning to write them, anyway I have felt ashamed all the time I’ve been writing this story; so it’s hardly literature so much as a corrective punishment.  Why, to tell long stories, showing how I have spoiled my life through morally rotting in my corner, through lack of fitting environment, through divorce from real life, and rankling spite in my underground world, would certainly not be interesting; a novel needs a hero, and all the traits for an anti-hero are expressly gathered together here, and what matters most, it all produces an unpleasant impression, for we are...
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Hope

To be human is to be a miracle of evolution conscious of its own miraculousness — a consciousness beautiful and bittersweet, for we have paid for it with a parallel awareness not only of our fundamental improbability but of our staggering fragility, of how physiologically precarious our survival is and how psychologically vulnerable our sanity. To make that awareness bearable, we have evolved a singular faculty that might just be the crowning miracle of our consciousness: hope.-- Erich Fromm


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Fences (2016)

 


Washington directs and stars in this intelligent and brilliantly cast adaptation of August Wilson’s play about a garbage collector who was once a baseball star

Every payday, garbage collector Troy Maxson (Denzel Washington) holds court in the backyard of the Pittsburgh home he shares with his wife, Rose (Viola Davis) and their son, Cory (Jovan Adepo). By Troy’s side are his two best friends, Bono (Stephen Henderson), the co-worker he’s known for decades, and a bottle of gin, which Troy has also known for decades. Both are very good listeners, and there’s nothing Troy enjoys more than a captive audience. When his tales spin too wildly into fiction—at one point, Troy reminisces about wrestling with Death itself—Rose steps outside to playfully call him on his nonsense. Troy cuddles with her, tossing the raunchiest dialogue he has to offer in her direction. As the evening progresses, Troy is sometimes joined by his eldest son, Lyons (Russell Hornsby), who borrows money, or his disabled war veteran brother, Gabe (Mykelti Williamson), who has just moved from Troy’s home in a defiant display of his independence. Life is a series of routines culminating in death. Every payday brings Troy Maxson closer to his wrestling partner.

This repeated scenario forms the basis of August Wilson’s Pulitzer Prize-winning play, “Fences.” 29 years after its Broadway premiere, “Fences” arrives in theaters courtesy of a screenplay by the late playwright himself. With two Pulitzer Prizes and his ten-play magnum opus, “The Pittsburgh Cycle,” (of which “Fences” is the sixth work), Wilson takes his rightful place alongside Eugene O’Neill, Edward Albee and Tennessee Williams as one of the greatest American playwrights. The focus of Wilson’s cycle is African-American life across the entire 20th century, with each play taking place in a particular decade. “Fences” is set in the 1950’s, but the timeframe does not date the material. Its universal themes supersede any of its societal details, though based on this year’s election cycle, viewers may be stunned to discover that the American working class is more than just Midwestern and White.




Wilson’s common theme of legacy fuels “Fences” in the guise of Troy’s relationship with Cory. Cory has the opportunity to get a college scholarship for his football skills, but Troy is against this primarily because of his own failed sports dreams. Troy was a great baseball player in the Negro Leagues, but this was well before Jackie Robinson (whom Troy despises), so Troy never realized his dreams of major league glory. It’s not lost on us that Troy is denied success in what is commonly called “America’s Pastime”; baseball serves as the perfect metaphor for the American Dream. Like the America of Troy’s time, it was segregated and demanded that Blacks knew their place. For most fathers, knowing their son wishes to follow in his footsteps would be a happy occasion, especially in sports and even more so if one’s legacy might be extended or surpassed. Yet Troy’s brutal pig-headedness drives an irredeemable wedge between the two. In his big confrontation scene, newcomer Adepo goes toe-to-toe with his scene-stealing director and almost upstages him.




    1. Nebraska scored 90 percent on Rotten Tomatoes.
      Nebraska scored 7.7 out of 10 on IMDb.

    1. Release date: December 15, 2016 (USA)
      Director: Denzel Washington
      Box office: $64.4 million
      Distributed by: Paramount Pictures Studio Store
      Adapted from: Fences
      Awards: Academy Award for Best Actress in a Supporting Role, MORE



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Fences is a 1985 play by American playwright August Wilson. Set in the 1950s, it is the sixth in Wilson's ten-part "Pittsburgh Cycle". Like all of the "Pittsburgh" plays, Fences explores the evolving African-American experience and examines race relations, among other themes. The play won the 1987 Pulitzer Prize for Drama and the 1987 Tony Award for Best Play. Fences was first developed at the Eugene O'Neill Theater Center's 1983 National Playwrights Conference and premiered at the Yale Repertory Theatre in 1985.
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Cinematic Adaptation: From Stage to Screen

Denzel Washington’s direction is intentionally restrained. Rather than "opening up" the play with many locations, he keeps the action primarily confined to the Maxson house and backyard.

  • The Power of the Close-Up: Washington uses tight shots to emphasize the claustrophobia of the Maxson home. This allows the audience to see the micro-expressions in Viola Davis’s performance that would be lost on a stage.

  • Rhythmic Dialogue: The film preserves August Wilson’s specific "jazz-like" cadence. The dialogue is not just information; it is music, with repetitions and "solos" (monologues) that define the film's pacing.













  • Viola Davis: Won the Academy Award for Best Supporting Actress. Her "snot-and-tears" monologue, in which she confronts Troy about her own sacrificed dreams, is considered one of the greatest acting moments of the decade.

  • Denzel Washington: Received an Oscar nomination for Best Actor. He captures Troy’s dual nature—his infectious charisma and storytelling vs. his overbearing, destructive pride.




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