“Denzel” — like Bono or Prince, the sheer mention of the mighty figure doesn’t require a surname. The industry-given mononym implies adoration and respect; yet in selecting the best performances of his career to celebrate the actor, director and producer’s birthday, narrowing such a body of work down is far more daunting than suspected.
My earliest recollection of Denzel Washington’s cinematic endeavors came with the action-thriller “Ricochet” (1991). He portrayed a cop-turned-district attorney being terrorized by one of his former foes, played by John Lithgow. However, I wouldn’t start to understand his talents until a high school teacher brought in a double VHS cassette copy of Spike Lee’s “Malcolm X” (1992). After that, my outlook on acting was never the same.
Washington has a never-ending list of accolades. He has two Academy Awards — supporting actor for “Glory” (1989) and lead actor for “Training Day” (2001) — and is the most nominated Black actor in Oscars history. His other noms include “Cry Freedom” (1987), “Malcolm X,” “The Hurricane” (1999), “Flight” (2012), “Fences” (2016), “Roman J. Israel, Esq.” (2017) and “The Tragedy of Macbeth” (2021). Along with directing best picture nominee “Fences,” he was also one of the credited producers, making him the first Black person to be recognized for picture and acting in the same year. He also has a Tony Award for his turn in the August Wilson play of the same name.
It’s not just about acting with Washington, as he’s also been a consistent box office phenomenon worldwide, grossing more than $3 billion. His biggest hits have included “The Pelican Brief” (1993) with Julia Roberts, “Crimson Tide” (1995) with Gene Hackman, and his most financially successful feature, “American Gangster” (2007) from director Ridley Scott.
The holidays have brought a double-dose of Washington. First, he’s received critical acclaim for his turn as the Scottish noble Lord Macbeth in Apple Original Films and A24’s “The Tragedy of Macbeth.” Directed and adapted from the William Shakespeare play by Oscar winner Joel Coen, the monochrome drama also stars Frances McDormand, Corey Hawkins, Brendan Gleeson, Kathryn Hunter and Moses Ingram. Signs are pointing to him receiving his ninth acting nomination.
Washington also helmed his fourth directorial feature, “A Journal for Jordan,” from Sony Pictures. Based on the best-selling novel and adapted by Oscar-nominated screenwriter Virgil Williams (“Mudbound”), the tearjerking drama stars Michael B. Jordan and Chanté Adams.
Read Variety’s list of his best performances below.
Honorable mentions: “Mississippi Masala” (1991) “Crimson Tide” (1995), “Flight” (2012)
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Cry Freedom (1987)
Role: Steve Biko
Distributed by: Universal Pictures
Directed by: Richard Attenborough
Written by: John Briley (based on “Biko and Asking for Trouble” by Donald Woods)The scene that proves it: “Why do you call yourselves white?”
Washington’s inaugural recognition from the Academy Awards is more reserved in a recent watch, especially compared to his other loud and boisterous outings during his career. Nevertheless, he’s the film’s standout, where other parts are essentially stale and brought to a halt when he’s not on the screen. He makes it a must-watch for any Washington connoisseur.
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Devil in a Blue Dress (1995)
Role: Easy Rawlins
Distributed by: Sony Pictures
Directed by: Carl Franklin
Written by: Carl Franklin (based on the novel by Walter Mosley)The scene that proves it: Talking to Junior
Washington’s turn in this stylistically rich mystery from Carl Franklin is nothing but pure entertainment and magic. Paired with what could be considered one of Don Cheadle’s top two best performances as the scene-stealing Mouse, the narrative structure and direction meet Washington’s conviction to uncover the truth with a suave assertiveness and attitude.
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Remember the Titans (2000)
Role: Herman Boone
Distributed by: Buena Vista Pictures
Directed by: Boaz Yakin
Written by: Gregory Allen HowardThe scene that proves it: “Who’s your Daddy?”
Washington’s performance as the tough football coach Herman Boone on the heels of the integration of T.C. Williams High School is a cherished work by fans of sports films. He commits to the role, which is more of a supporting turn than many might remember, but still feels present even when he’s not on the screen. It’s a feel-good role in a career with multiple demanding performances.
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Inside Man (2006)
Role: Detective Keith Frazier
Distributed by: Universal Pictures
Directed by: Spike Lee
Written by: Russell GewirtzThe scene that proves it: “Shoot me.”
Reuniting with his “Mo’ Better Blues” director Spike Lee for the box-office thriller “Inside Man” had Washington giving a multi-layered performance that only gets better on rewatches, especially after the film’s big reveal. An integral piece of a vibrant ensemble that includes Clive Owen, Jodie Foster, Christopher Plummer, Willem Dafoe and Chiwetel Ejiofor, both Washington and Lee find a new rhythm in their careers, blending their quintessential styles while finding access to something new.
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Glory (1989)
Role: Private Silas Trip
Distributed by: Tri-Star Pictures
Directed by: Edward Zwick
Written by: Kevin Jarre (based on “Lay This Laurel” by Lincoln Kirstein and “One Gallant Rush” by Peter Burchard)The scene that proves it: Looking at Shaw while getting whipped
Asked when they took notice of Washington’s abilities as an actor, many of his colleagues cite his work in the historical war epic “Glory” by Edward Zwick. Of course, it’s unbelievably challenging to have your “Oscar scene” not include any words. Still, the look he has while getting whipped in front of his entire company after being accused of desertion is one that is burned into the cinematic mind. It also brought forth one of Washington’s signature acting moves: “the single teardrop,” which many have attempted but failed to bring the same emotional impact.
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Mo' Better Blues (1990)
Role: Minifield “Bleek” Gilliam
Distributed by: Universal Pictures
Directed by: Spike Lee
Written by: Spike LeeThe scene that proves it: “What is your name?”
Driven by Spike Lee’s foxy and cool assembly, Washington’s pristine physicality has probably never been more apparent than under the hues of cinematographer Ernest Dickerson. With a funky ensemble of actors, including Lee himself along with Wesley Snipes, Giancarlo Esposito, Bill Nunn and John Turturro, Washington binds them all. This is especially apparent in the remarkable scene where Bleek’s mix-up of Indigo (Joie Lee) and Clarke’s (Cynda Williams) names brings a crosshair of morality and confusion.
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John Q (2002)
Role: John Quincy Archibald
Distributed by: New Line Cinema
Directed by: Nick Cassavetes
Written by: James KearnsThe scene that proves it: “I’m always with you.”
It’s too often that Washington’s searing work in Nick Cassavetes’ thrilling and tear-jerking “John Q” is dismissed in the echo chamber when reflecting on his previous depictions. Yet, his portrayal of a father trying desperately to save his dying son is magnificently committed, something very few actors could have accomplished. While the film’s premise (and admittedly cringeworthy final shot) may seem cheesy to the casual viewer, the movie has Washington emptying everything in his acting toolbox with effortless ease, proving he’s one of the best.
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The Hurricane (1999)
Role: Rubin ‘The Hurricane’ Carter
Distributed by: Universal Pictures
Directed by: Norman Jewison
Written by: Armyan Bernstein, Dan Gordon (adapted from “Lazarus and the Hurricane” by Sam Chaiton and Terry Swinton and “The Sixteenth Round: From Number 1 Contender to 45472” by Rubin Carter)The scene that proves it: “Take it to the federal court!”
Washington enters the ring as boxer Rubin Carter in the sports biopic “The Hurricane” from seven-time Oscar-nominated director Norman Jewison (how has the guy behind “In the Heat of the Night” and “Moonstruck” never won?). Covering his wrongful conviction and imprisonment, Washington’s signature passion is pronounced in every beat of his movements and line deliveries, completely disappearing into the role. After being grotesquely passed over for “Malcolm X” seven years earlier, the industry campaign to get him a lead actor statuette began with this film, especially after winning the Golden Globe for lead actor drama. Alas, he would lose the award to Kevin Spacey in the best picture winner “American Beauty.”
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Philadelphia (1993)
Role: Joe Miller
Distributed by: TriStar Pictures
Directed by: Jonathan Demme
Written by: Ron NyswanerThe scene that proves it: “We don’t live in this courtroom.”
Though Tom Hanks’ first Academy Award-winning performance is one of the best in history, you couldn’t get the same impact without the spirited deliverance of Washington. As a lawyer who makes the journey from an ignorant and homophobic person to one that learns compassion and appreciation, he plays the role so easily it’s often overlooked in the repertoire of his most enlightening portrayals. It would have been worth nominating his work along with Hanks.
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The Tragedy of Macbeth (2020)
Role: Lord Macbeth
Distributed by: Apple Original Films/A24
Directed by: Joel Coen
Written by: Joel Coen (based on the play “Macbeth” by William Shakespeare)The scene that proves it: “Is this a dagger which I see before me…”
Washington taking on the words of William Shakespeare is as poetic and energetically charged as you would expect it to be, but what’s also surprising is how well he works under the guidance of a Coen brother. Everything delivered from his lips is magic, and his efforts might very well be rewarded with his ninth Oscar nomination for best actor. This would have him join the ranks of others who have reached the astounding number of total noms, including living legends Jack Nicholson, Al Pacino and Meryl Streep.
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Training Day (2001)
Role: Detective Alonzo Harris
Distributed by: Warner Bros.
Directed by: Antoine Fuqua
Written by: David AyerThe scene that proves it: “King Kong ain’t got shit on me.”
Twenty years ago, Washington brought an invigorating villain to the screen opposite his Oscar-nominated co-star Ethan Hawke. The character arc and Washington’s navigation keep the audience guessing, wanting to trust his words and possible intentions, even when he’s given countless examples not to. His charisma as a proudly corrupt LAPD detective won him his second Oscar, and first for leading actor, in what many forget was a surprising turn of events in the Oscar evening. Not just because he won the same night as Halle Berry (“Monster’s Ball”), who became the first (and still the only) Black woman to win best actress — he walked away with the statuette after Russell Crowe came into the evening with BAFTA, Critics Choice, Golden Globe and SAG wins for “A Beautiful Mind.” Crowe would have gone back-to-back after winning the year prior for “Gladiator” (2000), and both of his films won best picture. This type of last-minute switcharoo on Oscar night, with those precursors, has not been duplicated in the modern era.
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Fences (2016)
Role: Troy Maxson
Distributed by: Paramount Pictures
Directed by: Denzel Washington
Written by: August Wilson (adapted from his play of the same name)The scene that proves it: “I ain’t got to like you.”
It’s hard to imagine that Washington could direct himself to such an astonishing performance as what he achieves in “Fences.” He won a Tony award for best actor in a play for his stage turn and brought an intensity and aching vulnerability to a man that the viewer isn’t supposed to like, but is compelled by. A credited producer on the film along with his longtime collaborator Todd Black, Washington became the first Black man in Oscars history to be nominated for best picture and actor in the same year. Though the film won best supporting actress for Viola Davis, Washington lost the best actor statuette to Casey Affleck for “Manchester by the Sea,” despite winning his first Screen Actors Guild award. The film itself would lose out to Barry Jenkins’ “Moonlight.”
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Malcolm X (1992)
Role: Malcolm X
Distributed by: Warner Bros.
Directed by: Spike Lee
Written by: Arnold Perl, Spike LeeThe scene that proves it: “We didn’t land on Plymouth Rock. Plymouth Rock landed on us.”
It’s a gargantuan turn from Denzel Washington in Spike Lee’s ambitious portrait of the slain civil rights leader. Nominated for best actor, it stands as one of the Academy’s most egregious overlooks, in favor of Al Pacino’s turn in “Scent of a Woman.” Nevertheless, he inhabits the very essence of the figure, and his performance not only stands as the best of his impressive career, but as one of the best in the history of the cinematic art form.