PG-13 | 2h 5m | Drama | 2024
Based on the Pulitzer Prize-winning 1987 play by August Wilson, “The Piano Lesson” is a movie that gets close to being “stage-bound.” This is a work for the stage, when the action on stage may take place in one or two rooms, that falters when adapted to film.
This is not to be confused with the just so-so 1995 made-for-TV movie of the same name. This new Netflix film was adapted by first-time feature director Malcolm Washington and Virgil Williams and features most of the principal cast from the 2022 Broadway production. This was a smart move as the returning (male) performers bring with them established chemistry, and are deeply familiar with the multiple deep thickets of dense, explorative dialogue.
Although being promoted by Netflix for awards consideration in a supporting role, new arrival Danielle Deadwyler (as Berniece) is the heart-and-soul moral centerpiece of the movie and, at least for me, she is the co-lead character.
Deadwyler Is Astonishing
Known mostly for her acclaimed performances in “The Harder They Fall” (2021) and the heartbreaking “Till” (2022), Deadwyler is nothing less than astonishing here. An Oscar nomination (that wasn’t lavished on her for “Till”) is certainly in order here.The first and most notable change the screenwriters make is in flipping the order of the two scenes in the first act. Instead of the story opening with Boy Willie (John David Washington) and his friend Lymon (Ray Fisher) loading up their truck with watermelons in Mississippi to sell in Pittsburgh, the movie starts during a July Fourth celebration when a piano is stolen. The owner of the piano and identity of the thief are not made clear, but someone knows and this results in an angry mob burning someone’s house to the ground.
Sagely Doaker
The widowed Berniece lives in Pittsburgh with her preteen daughter Maretha (Skylar Aleece Smith) and Doaker (Samuel L. Jackson), the brother of Boy Charles and the uncle of Berniece and Boy Willie. As the movie progresses, it becomes clear that Doaker is the “Switzerland” of the story; he’s the sage elder who offers advice only when asked, and the only character without any apparent skin in the game.The principal plot point is Boy Willie making enough money off the sale of the watermelons and his supposed half-ownership in the family piano. Boy Willie intends to return to Mississippi to buy land from Sutter’s descendants to start his own farm. Without giving away any spoilers from the third act, very little of this makes much sense.
One angle of the plan that jibes is the sale of the piano. After it was stolen, a woodworker carved out tasteful, high-quality images of the Charles family into the front and sides of it, making it infinitely unique. However, this “uniqueness” makes it desirable to a limited number of potential buyers.
Also, just how rare were watermelons in Pennsylvania in the mid-1930s? By what’s shown, Boy Willie gets a dollar a piece for the hundred or so of them in his possession. How much farmland will that buy one in the Deep South at that time?
Competing Suitors
At the halfway point, the writers toss in two romantic subplots, both including Berniece. The first involves Lymon who, by this time has tried, without success, to dissuade Boy Willie from taking possession of the piano. As it appears, Lymon has been attracted to Berniece for a good while. She’s receptive to his advances at first, but starts questioning his motives because of his possible connection to a future sale.Appearing less sincere in the romance department is the Rev. Avery Brown (Corey Hawkins), an unmarried pastor who ultimately reveals his chances for advancement in the church is contingent on his marriage status. Neither he nor Lymon fully convince Berniece that they are truly committed to her alone.
Again, without giving anything away, the big final scene strays into otherworldly territory. This clears up many issues, but strays far into ritual not likely approved of or condoned by any organized religion.
The movie was co-produced by Denzel Washington, the father of both the director and the leading male performer. While watching the movie, the question of nepotism entered my head, but quickly exited as John David was involved in the stage play, long before this adaptation became a possibility.
This movie doesn’t suffer from nepotism, but rather from a fumbled stage-to-screen transfer. If not for the stellar performance of Deadwyler, I would give the movie a slightly negative review. Because she is so good, I’m going marginally positive.
