Why One Director Dismissed Denzel Washington’s Favourite Role
Denzel Washington’s performance in The Hurricane is a personal highlight, but not everyone in the industry shares his enthusiasm—one director even called it “phony”.
There’s no shortage of praise for Denzel Washington, whose name is practically synonymous with cinematic gravitas. Audiences flock to his films, drawn by a presence that’s as magnetic as it is unmistakable. Yet, for all the acclaim, his particular approach to acting doesn’t always serve as the ideal blueprint for those just starting out. While some actors are forever linked to a single, defining role, picking out Washington’s crowning achievement is a trickier business. His filmography is a patchwork of celebrated performances, and opinions on his finest hour are anything but unanimous.
He’s twice been handed an Oscar—once for his supporting turn in Glory, and again for leading the charge in Training Day. Spike Lee, a frequent collaborator, has gone on record saying Washington’s portrayal of Malcolm X deserved the highest honours. But when it comes to the role that Washington himself holds dearest, the answer might catch a few fans off guard. He’s singled out The Hurricane, where he steps into the shoes of Rubin Carter, the boxer whose wrongful conviction and lengthy imprisonment became a rallying point during the Civil Rights era, even inspiring Bob Dylan’s ‘Hurricane’.
The Hurricane: A Divisive Triumph
Washington’s work in The Hurricane didn’t go unnoticed—he landed an Academy Award nomination for Best Actor. Still, the film doesn’t always make the shortlist of his most celebrated projects. It’s a significant piece, though, offering a clear-eyed look at a man whose story might otherwise fade from memory. The role demanded a physical transformation, with Washington getting into fighting shape to convincingly portray Carter in the ring. The performance is unmistakably his, marked by a style that’s both eloquent and impassioned. Yet, for some, that very intensity can tip into melodrama, especially when imitated by less seasoned actors.
Director David Gordon Green, for one, found himself at odds with Washington’s approach. While working on his indie drama George Washington, Green was keen to steer his young cast away from what he saw as the pitfalls of overacting. He explained,
“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,”
adding,
“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.”
Contrasting Styles: Naturalism Versus Theatricality
George Washington, Green’s debut, revolves around a boy grappling with a traumatic event as he comes of age. Damian Jewan Lee’s portrayal is lauded for its authenticity, a quality Green continued to nurture in later works like All The Real Girls and Undertow. For Green, the goal was always to coax out performances that felt lived-in, not staged. His comments on Washington’s style, then, are less a personal dig and more a statement of artistic preference—though, admittedly, not the most diplomatic.
It’s a curious stance, especially given the abundance of performances that might more readily be accused of chasing awards with overwrought emotion. Green’s early films were celebrated for their gentle, unvarnished tone, but his later ventures—think Halloween Ends or The Exorcist: Believer—haven’t exactly set the world alight. One could argue he’s not in the strongest position to pass judgement on Washington’s choices.