TIFF Review: ‘The Piano Lesson’ is a Powerful Adaptation with an Excellent Cast

Possessions that don’t get much use may still have tremendous value to those who own them. It’s not uncommon for people to keep mementos of family members around to remember them, such as furniture or art. There’s very often a long story behind every such piece, and The Piano Lesson, adapted from August Wilson’s play of the same name, uses its title object as the jumping-off point for a poignant, startlingly funny, and enlightening tale of a long and complex family history.

In 1936, Boy Willie (John David Washington) drives up from Mississippi with his good friend Lymon (Ray Fisher) to the Pittsburgh home his sister Berniece (Danielle Deadwyler) shares with their uncle Doaker (Samuel L. Jackson). Boy Willie has brought watermelons to sell but has his eyes set on the next big money-getter, the family piano, which he wants to turn into the money he needs to buy the land where his grandfather once lived as a slave. Berniece, however, is dead set on keeping the piano she never plays as she contends with the presence of a ghost she believes to be living upstairs.

This is the latest cinematic adaptation of one of Wilson’s prize-winning stage works, following Fences and Ma Rainey’s Black Bottom. This film version certainly has its own feel, not nearly as much like a play as the former or with the musical content, piano aside, of the latter. The dialogue is definitely strong and memorable, similar to the back-and-forth often seen on stage, but both the house in Pittsburgh and flashbacks to devastating times in Mississippi effectively upgrade the experience to an appropriately cinematic one (that most audiences will likely experience at home when watching the film on Netflix).

This story has many layers to it, and it’s fascinating to watch the characters interact as tensions rise in a confined setting. Berniece is already taking care of her daughter Maretha (Skylar Smith) and fending off romantic advances from local preacher Avery (Corey Hawkins). Another uncle (Michael Potts) adds his own unrequested input, and both he and Doaker offer their recollections of the fateful events that led to the acquisition of the piano and its significance in the lives of the next generation, who didn’t know slavery but certainly face discrimination and racism, even if that doesn’t get shown as part of this film since all their interactions are so insular.

The Piano Lesson boasts an excellent cast. Washington has never been better, playing Boy Willie as a smooth-talking operator who has clear goals he wants to accomplish but often gets in his own way. Deadwyler, who missed out on an Oscar nomination for her towering performance in Till but may be able to make up for that now, is formidable as Berniece, incorporating so much history and emotion into the way she speaks to her family members. Fisher speaks slowly and kindly, and there’s a sense that the way Lymon looks at the world is much simpler than anyone else and potentially healthier. Hawkins and Potts get great material and the most famous member of the cast, Jackson, does what’s asked of him, infusing some humor but leaving the standout moments, some of which are quite funny even amid serious themes, to his peers.

This film takes place nearly a century ago and does feel as if it’s in another world. Yet its subject is resonant and the portrayal of complicated family dynamics definitely rings true. Examining the transformation of this Black family in changing times through their own words and memories is extremely effective, and Malcolm Washington, son of Denzel, a producer on the film, and star John David, makes an assured feature directorial debut that demonstrates his comfort in working with actors and set pieces. This film is powerful and isn’t easy to forget, an enduring snapshot of history told in a strong and passionate way.

Movie Rating: 8/10

Awards Buzz: Provided Netflix campaigns for it, this film should do well. Though neither of Wilson’s previous adaptations dominated at the Oscars, they both did well enough, and a nomination for Deadwyler (depending on her category placement), production design, and adapted screenplay feel likeliest.