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A piano steeped with a heartbreaking backstory stands in the middle of siblings Berniece Charles (Danielle Deadwyler) and Boy Willie Charles (John David Washington) in the new Netflix original “The Piano Lesson.” The film assesses the value of preserving family history versus moving on from the past to create a better future. It explores this complicated dynamic thanks to Malcolm Washington’s intelligently sequenced flashbacks and the performances from its star-studded cast.

“The Piano Lesson” is the third film adaptation of Pulitzer-winning playwright August Wilson’s 10 part play, “American Century Cycle.” The series depicts the African-American experience throughout the 20th century, with each play representing a decade.

Set in 1936, the film follows Boy Willie Charles and his friend Lymon (Ray Fisher) as they travel to Pittsburgh, where Boy Willie reunites with his uncle Doaker (Samuel L. Jackson) and Berniece. Boy Willie’s true intentions of the visit are to sell his family’s prized possession — a piano carved with his ancestors’ family portraits.

Boy Willie wants to use the money to purchase a plot of land previously owned by the man that enslaved his family, James Sutter (Jay Peterson), in Mississippi. Conflict arises when Berniece refuses to sell the heirloom.

Similar to the film, the production and cast is centered around one family: the Washingtons. Denzel Washington co-produced the film with his daughter, Katia Washington. His oldest son, John David Washington, stars as one of the two protagonists. It’s co-written by his youngest son, Malcolm Washington, in his directorial debut.

Malcolm Washington made sure to pull out all the stops, weaving the film’s central theme into every scene. On the surface, “The Piano Lesson” explores the back-and-forth tension between the two siblings. His brilliant directing intersplices the conflict with flashbacks.

In the beginning flashback sequence, Doaker, her other uncle, Wining Boy (Michael Potts) and a young Boy Willie steal the piano from Sutter and narrowly escape with the help of Boy Willie’s father, Boy Charles (Stephan James). It’s later revealed that Boy Charles was killed for helping them escape.

For Berniece, the piano serves as a reminder of the bloodshed. By preserving the heirloom, her father’s sacrifice would never be lost. For Boy Willie, the piano was a chance for him to reclaim the land where his family was enslaved for generations.

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In another flashback, young Boy Willie is seen with his father in the plantation. When Boy Charles places a handful of dirt in his son’s hand, he explains that Boy Willie wasn’t touching just dirt, but land, and that land lasts forever. For Boy Willie, the piano wasn’t the key to holding the memory of his father, but a means to get back his family’s land.

Flashbacks enhance the film’s emotional effect. Just as the audience thinks Berniece deserves to win the battle, a flashback hits and provides reasons as to why Boy Willie needed to sell the piano. The flashbacks provide additional layers for the audience to peel back and immerse themselves in, truly seeing the full scope of the issue.

Malcolm Washington’s impressive directing is paired with Deadwyler’s moving performance. Even amid the likes of John David Washington and Samuel L. Jackson, Deadwyler outshines her co-stars.

Her performance as a character ridden in conflict while navigating life as a single mother takes the audience’s breath away. When Boy Willie and her boyfriend Avery (Corey Hawkins), who also wanted to sell the piano to build his own church, manipulate Berniece into giving up the piano, the audience can’t help but root for Deadwyler’s assertive character. As one of few female characters on screen in the film, Deadwyler’s incredible talent is clear to viewers.

Where Deadwyler shined, John David Washington faltered.

John David Washington, who played the same role on Broadway, overacted his character, and Boy Willie came off as arrogant rather than strong-willed. Though Boy Willie was written as a dominant force, John David Washington’s overacting clashes with Deadwyler’s robust performance, making the dynamic one-sided rather than complementary.

Despite their limited screen time, Lymon and Doaker were mediators for the siblings’ relationship. Though it would be better if the audience could see more of these characters, Lymon’s soft nature and Doaker’s comic relief tone down the intensity of the central conflict.

The film does a brilliant job at exploring the family’s conflict, but its ending is disappointing.

As the film reaches its climax, Malcolm Washington takes the idea of facing one’s inner demons literally as Berniece faces the ghosts of her ancestors and Sutter. In a “Paranormal Activity”-style sequence, Berniece is surrounded by the ghosts of her past as she sits in front of the piano, while a chilling soundtrack plays.

This overdramatic scene flips the film from drama to horror, interrupting the story’s engrossing narrative. While some might see this as paying homage to the theatrics of the original play, it fails to deliver a cohesive experience on film, ultimately leaving the audience with a strange conclusion.

While Malcolm Washington’s directing and Deadwyler’s performance shined throughout “The Piano Lesson,” the adaptation struggles to distinguish itself from the original play. Despite its gray areas, Malcolm displayed a strong start to his directorial career by taking on an ambitious play known for its historical impact.

Among all other streaming services, Netflix comes out on top for its original content. Whether it be masterpieces or Oscar baits, many Netflix originals depend on star-studded directors and cast members. “The Piano Lesson” is an overall excellent example of this, albeit with a few flaws.

The film’s unexpected ending and John David Washington’s over-the-top acting performance fail to round out the film’s storyline. Instead of a clear winner, the film wraps up with Berniece being able to move on from her family’s past, while Boy Willie finally understands the piano’s significance to his family.

Published on December 9, 2024 at 10:26 pm