Director Slams Denzel's Oscar-Nominated Hurricane Performance as 'Phony'
David Gordon Green harshly criticized Denzel Washington's acclaimed portrayal of boxer Rubin Carter, calling it overdramatic despite the actor's personal pride in the role.
Denzel Washington ranks among Hollywood's most bankable stars. His name alone sells tickets. Yet his signature acting approach doesn't always serve as the best blueprint for newcomers finding their voice.
Picking Washington's greatest performance proves nearly impossible given his extensive catalog of memorable roles. He won Oscars for Glory and Training Day. Spike Lee believed Malcolm X deserved recognition. But Washington himself takes most pride in The Hurricane.
The Role That Defined Him
The Hurricane cast Washington as Rubin Carter, the boxer wrongfully convicted of murder. Carter's imprisonment sparked Civil Rights protests and inspired Bob Dylan's famous song. The performance earned Washington an Oscar nomination for Best Actor.
Washington transformed his physique for the boxing sequences. The film tackled an important historical figure who shouldn't be forgotten. His passionate, eloquent delivery style worked perfectly for the material. But that same approach can appear forced when younger actors attempt to copy it.
A Director's Harsh Critique
David Gordon Green felt strongly about this when directing his indie drama George Washington. He wanted his young cast to avoid Washington's theatrical tendencies entirely.
"I took advantage of the fact that the kids didn't know the textbook ways of acting to show them what I thought acting is, which is just a hair beyond the 'let's pretend' school of acting," Green explained. "I tried to get them to understand how I feel when I see Denzel Washington in The Hurricane, which I find such a phony, false performance in which I see him overdramatise every line he says."
Green's debut followed a young boy processing a traumatic incident while learning about heroism. Damian Jewan Lee delivered a naturalistic performance that felt completely authentic. This approach carried through Green's early works like All The Real Girls and Undertow.
Career Trajectories
Green's comments about directing child actors make sense. His backhanded criticism of Washington seems odd, especially considering far worse examples of Oscar-bait acting exist.
Green earned praise for his wholesome early films. But his recent disasters like Halloween Ends and The Exorcist: Believer suggest he's hardly positioned to critique Washington's work. The contrast between their career paths speaks volumes.