Written and directed by Malcolm Washington, co-written by Virgil Williams, based on the play by August Wilson, follows the lives of the Charles family as they deal with themes of family legacy and more, in deciding what to do with an heirloom, the family piano. Starring: John David Washington, Danielle Deadwyler, Ray Fisher, Corey Hawkins, Michael Potts, Samuel L. Jackson, Skylar Aleece Smith, Stephan James, Erykah Badu and Malik J Ali.
One of the most obvious aspects of The Piano Lesson that becomes clear pretty immediately is that it feels exactly like the other August Wilson adaptations we’ve seen so far. The biggest reason for that is because they all feel trapped by their theatrical roots, they’re unable to truly breakaway on their own. Each of them have different directors and yet their styles feel linked because they’re not building their own distinct personalities enough, they’re following the stage to screen playbook. Although The Piano Lesson does have a slight exception to that when it enters its final act.
However, this is where the film might lose some people as there’s a dramatic tonal shift that takes you from a story of race, heritage and pride to a ghost story. Interestingly that genre shift into something that’s along the lines of supernatural horror actually works quite well and has more style, when looked at by itself. Had the entire play been re-interpreted through genre, it could have been a risky but fascinating endeavour. As it stands, it doesn’t flow well, it feels like two completely different films mashed together and leaves things messy.
Another part of that is whenever it dips into the past it employs winding, sentimental throwbacks which feel far too softened and don’t have a great deal to add. Especially as it’s territory that The Piano Lesson tends to repeatedly traverse throughout the film. That hit and miss nature also bleeds into the performances. Danielle Deadwyler brings her usual intensity and emotionally driven portrayal, which honestly deserved a better vehicle than this story could provide.
Michael Potts is excellent, there’s a lot of charm and a little brokenness to his performance which is captivating to watch. Corey Hawkins brings a surprising vulnerability which is another great addition. The feeling and emotion to Ray Fisher’s performance is in the right place, and he has an intriguing quality to him as you can’t quite figure out where his character lands, he can be sweet but there’s also something more complicated. However, it can feel like he’s leaning on the slow delivery too much, which undercuts the complexity.
Then there’s John David Washington, Boy Willie is a crucial and massive presence so there’s a great deal of focus on him and this performance falls short. The key problem is that it’s incredibly heavy-handed, he’s delivering it with a level of aggression that’s unnecessary. There’s no roguish charm, he’s simply playing it too big, and it doesn’t feel natural at all. Sadly, it’s one of those occasions where it feels like a piece of miscasting. Whereas Samuel L. Jackson is Jackson as we know and love him, it’s not new but he gives us what we want.
The Piano Lesson can’t escape its theatrical origins and unfortunately, that holds it back. For the most part, we’re simply getting a by the book stage to screen adaption, without induvial style. The direction can be very sentimental and missing personality, although the cinematography and costume work do not disappoint. When it finally breaks out of its shell and explores a supernatural element, it’s an interesting change of pace but unfortunately, it’s far too late and ends up feeling strange and messy. Danielle Deadwyler is reliably great but she needed a better sparring partner as John David Washington can’t bring the subtlety and complexity needed to match her talent.
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