Dir: Malcolm Washington
Cast: Samuel L. Jackson, John David Washington, Ray Fisher, Michael Potts, Erykah Badu, Skylar Aleece Smith, Danielle Deadwyler, Corey Hawkins
Boasting a remarkably talented ensemble, “The Piano Lesson” is a largely impressive debut from Malcolm Washington, although I found the narrative to be less impactful than previous Wilson adaptations
From the 1970’s all the way through to his death in 2005, August Wilson garnered acclaim as well as an undeniable legacy for his contributions to theatre, as well as being a spokesman for the African-American community. Wilson became best known for his series of ten plays, collectively known as “The Pittsburgh Cycle”, which chronicle the experiences and heritage of the African-American community throughout the twentieth century. Wilson primarily explored themes surrounding identity, racial discrimination and the historical exploitation of African-Americans in the United States at the time, which is shockingly still prevalent today.
Having grown up in the United Kingdom, I was unfamiliar with Wilson’s work and the impact it had across the pond over the past few decades. It was not until 2016, when Denzel Washington directed and co-produced an adaptation of Wilson’s Pulitzer Prize-winning play “Fences”, that I was made aware of Wilsons theatrical projects. The film was a huge success for Denzel, with the film earning four nominations at the 89th Academy Awards, including a win for Viola Davis for her supporting performance, the only win of her career so far. Following this success, Denzel vowed to continue Wilson’s legacy by adapting all ten plays on the big screen for a wider audience. In 2020 Denzel returned to produce the second Wilson adaptation, “Ma Rainey’s Black Bottom”, but handed directing duties over to George C. Wolfe. The film marked one of the final on screen performances for the late Chadwick Boseman who posthumously won the Golden Globe for Actor – Drama for his role alongside a returning Davis as the titular Ma Rainey.
Now in 2024, Denzel has released the third adaptation of “The Pittsburgh Cycle” plays, the family based drama, “The Piano Lesson”. Given the domestic nature of the narrative, Denzel rather fittingly has kept the production close to home as well, with his youngest son Malcolm taking up directing duties, whilst his eldest son, John David, stars in the leading role. There is clearly an admiration for Wilson and his work from the whole Washington family, and it shows with Malcolm proving to be a more than competent filmmaker in what is his directorial debut.
We are introduced to the ambitious Boy Willie Charles (John David Washington) and his childhood friend Lymon (Ray Fisher), who have travelled from Mississippi to Pennsylvania in a bid to sell a truckload of watermelons. During their business endeavours, the pair pay a visit to other members of the Charles family, including the elderly Uncle Doaker (Samuel L. Jackson), the comically drunk Wining Boy (Michael Potts) and Boy Willie’s younger sister Berniece (Danielle Deadwyler). During his stay, Boy Willie informs the others that the latest member of the Sutter family, who had enslaved the Charles’s ancestors, has died having fallen down a well. With Sutter’s land up for grabs, Boy Willie intends to sell the family piano, having been stolen from the Sutter antebellum estate in a breath-taking cold open, to purchase it. However, Berniece is fiercely against her brothers plans, believing the piano to be a family heirloom that is rightfully theirs.
As the tensions build in the Charles household, where the majority of the drama is restricted to given its theatrical origins, a series of increasingly concerning supernatural events occur, with the apprehensive Berniece believing the spirit to be that of the recently deceased Sutter claiming vengeance, as she believes it was Boy Willie who had killed him.
Having enjoyed both previous adaptations of Wilson’s work, I was eagerly anticipating this latest release, and given the talent on show I was not expecting to be disappointed. Whilst I did find solace in Malcolm Washington’s sensational filmmaking and the performances, this unexpected ghostly tale did not quite resonate with me to the extent that “Fences” and “Ma Rainey’s Black Bottom” did. There is an excellent family dynamic on show and the thematic elements synonymous with Wilson are present with the domestic and social commentary, but I found more so here than with the previous adaptations, the single location setting limited the broader tale surrounding the central piano’s history. Some plays and novels translate better than others onto screen, and despite being one of the most acclaimed of Wilson’s plays, “The Piano Lesson” may be best being seen on the stage.
Despite the constraints of the play itself, Malcolm Washington manages to inject ample energy and movement into this production, with versatile camera work from cinematographer Mike Gioulakis exploring every nook and cranny of the Charles home for dramatic and occasionally spooky effect. The odd occasion Malcolm Washington is able to venture beyond the locations of the play, most often in flashbacks depicting the family’s ancestry, he brings vibrancy and colour that is otherwise absent in the dimly lit central setting where we spend most of the two-hour runtime.
This cinematic adaptation, now streaming on Netflix having acquired the rights similar to “Ma Rainey” back in 2020, is a closer adaptation to the 2022 Broadway revival of Wilson’s play, right down to the cast members. Washington, Jackson and Potts all reprise their roles here, and you can clearly see they are comfortable in portraying these familiar characters. Washington brings electricity to the movie, with his ambitious and drive propelling the narrative and often causing the tensions to rise between the family members. Conversely, Samuel L. Jackson plays the much more restrained Doaker, a caring and sometimes comedic paternal figure who opts to take a backseat as his niece and nephew confront each other. It is a refreshing performance by Jackson, who more often than not is the most distinctive character any time he pops up in any motion picture. Newcomers come in the form of Corey Hawkins and the excellent Deadwyler, who famously was denied an Oscar nomination two years ago despite giving the performance of the year in the heart-wrenching “Till”. Her explosive passion for the family piano and strong personal beliefs make her by far the most compelling character of the ensemble, and she dominates the screen any time she appears.
Despite the virtuoso directing and flawless performances by all, “The Piano Lesson” ultimately falters due to the not quite landing on a chosen tone. It is written and delivered like a drama, and for the most part it is, however, every moment of major escalation is either disrupted by comedic intervention by Potts’ bumbling Wining Boy, or by supernatural intervention, resulting in very little resolution, more of a cathartic humbling.
This latest August Wilson adaptation further proves what a great playwright he was, and it is a testament to Denzel Washington to get his works more recognition, I for one would not have known about his talents if it was not for Denzel. Boasting undeniable talent in front and behind the camera “The Piano Lesson” has plenty to offer, unfortunately not as much as other adaptations of Wilson’s work.
The Piano Lesson is now available to stream on Netflix
Dan Loves Film 