Gather round everyone. Come in close and listen up. It’s time to stop sending Danielle Deadwyler to the land of wind and ghosts come awards season and give that woman her flowers. I don’t know what the Academy has against one of the best performers of their generation, but it’s time to stop, drop and pay attention to her work because it has been consistently worthy of trophies and praises. This is the takeaway from “The Piano Lesson,” a Washington family adaption of August Wilson‘s 1987 family drama stage play of the same name and the third film adaption of his work following “Fences” and “Ma Rainy’s Black Bottom.” No stranger to Wilson’s work, Denzel Washington steps in as the producer of his son Malcom Washington’s directorial debut, that also stars his other son John David Washington.
Yes, the Washingtons are all over this latest stage play adaption, and with mixed results from each party. That’s not to say that “The Piano Lesson” is bad, but largely that the backing of a Hollywood family dynasty wears its shortcomings on its sleeve because of it, and it becomes the least successful adaption of Wilson’s work to date. Some of that is Malcom’s newness in the director’s seat, tackling a complex and nuanced stage play and ambitiously attempting to transfer mediums from stage to screen without having a lot of experience in either. And then there’s JDS, a performer I am just not sold on and find his presence average at best even in projects he’s able to lead because of his name. I’m not often one to shout nepotism – because frankly, I don’t care – but John David Washington doesn’t have the range nor the prowess of film or stage to successfully carry a bold adaption like “The Piano Lesson” across the finish line. And he is constantly overshadowed by his better, more capable counterparts.
Set in 1936, “The Piano Lesson” follows the lives of the Charles family through an heirloom of a piano carved by their enslaved ancestors in their living room. Boy Willie (John David Washington) wants to sell the piano, unaware or uninterested in the piano’s family history. His sister Berniece (Deadwyler) understands the significance of what it represents to the family and refuses to play, touch and sell the item. Doaker (Samuel L. Jackson) whose home the film takes place attempts to broker peace and impart the history onto Willie, while Willie’s friend and partner Lymon (Ray Fisher) affably dotes on Berniece and is left unsure about which side he should take in this family squabble. As the family deliberates and argues about what to do with the piano, history is unearthed and supernatural forces may be at play that beckon everyone to come together and honor the wishes of their ancestors who died to keep their legacy alive. The film also stars Corey Hawkins, Michael Potts, Erykah Badu and Skylar Aleece Smith.
Veterans in the room like Jackson and Deadwyler are the crux of “The Piano Lesson,” who clearly understand the undertaking of adaptive material. Most surprising is Fisher, who imbues Lymon with a lovable naivety as he finds himself surrounded by turmoil amidst a family squabble. It’s John David who is the first weak link, acting in a way that feels like a stage actor pretending to be a film actor portraying what he THINKS a stage actor feels like. “The Piano Lesson” centers on Boy Willie the most, a character who is the catalyst for nearly all things that transpire and JDS is simply not up to task for such a challenge. While his brother shoulders some of the blame, it’s John David who seems to constantly remind you that you are watching a stage adaption. He feels out of his depth and holds everything back, particularly being surrounded by others that demonstrate the understand medium conversion.
Malcom Washington struggles at the helm too, unable to shed his greenness and tackling an ambitious project for his first time out. Wilson’s work is not easy, and “The Piano Lesson” requires a deep understanding of its more nuanced and balanced narratives. It’s not that Malcom proves himself to be incompetent (far from it) but simply that he has bitten off more than he can chew for his first time out. I get it, “The Piano Lesson” and Wilson’s work as a whole shares a particularly personal relationship with his family, but it’s clear he isn’t as confident adapting the material and thus devolves the final product into a sort of messy, stagey production that unfolds in tonal imbalance and messy subplot confusion. This should be made for me; a small cast, single setting location chamber piece with deep roots and robust characters. But I found “The Piano Lesson” to fall shy of its potential due to the aforementioned missteps of its direction and star.
Thankfully, the film has Deadwyler and Fisher, the latter who turns out to be the surprise breakout of “The Piano Lesson.” The chips should be all in on Deadwyler and her immense talent, but Fisher has had a harder go of things in the industry, and it is refreshing to see him finally be able to demonstrate some of the range he is capable of. For Jackson’s part, he’s got maybe one standout scene that he shares with some others, and outside of that is relegated to a reactionary character rather than anything meaningful. You won’t really find Jackson phoning it in to something like “The Piano Lesson,” but again, Malcom Washington doesn’t quite yet know how to use his star studded cast to the best of their abilities. He makes some creative choices that don’t quite work, and even with the best of the best at his command he can’t seem to bring it all together cohesively.
I think most people will land positively on “The Piano Lesson” when it comes to Netflix. There’s enough good work and good will from favorites and surprise works to forgive many of the films misgivings. As messy as its conclusion is, I haven’t been able to get Deadwyler’s repeated phrase “I need you to help me” out of my head. And Jackson, Washington, and Fisher breaking out into song is deeply effective and impossible to forget. “The Piano Lesson” has plenty of high moments that shine and thrill and highlight individual performances, but Malcom’s direction paired with his brother’s meandering hold it back from being a true contender and a coherent film adaption. It may still show up in some categories, and I am hoping against home that Support Actress is messy enough to finally give Deadwyler a fighting chance.
Overall, I only liked “The Piano Lesson.” Its inescapable adaptive missteps work as a detriment and make it last on the Wilson adaptive list. There’s certainly promise in Malcom’s ability, and given a less complicated project he’ll be able to execute more of his singular vision and show his hand behind the camera more. For JDS, he is not his father and he would do well to remember that. Sorry, I’m just not on him at all and he is the worst part of “The Piano Lesson.”
But hey, I also find Denzel to be pretty one note, so I’m clearly ready to throw hands.
Rating: 3 out of 5 Stars
“The Piano Lesson” is playing select theaters and will be on Netflix November 22nd. You can watch the trailer below.
