Movie Review: The Washington family tells a ghost story in August Wilson’s “The Piano Lesson’

admin August 29, 2023

August Wilson’s The Piano Lesson, a compelling drama about family, legacy, and the weight of history, takes center stage in this cinematic adaptation, starring the powerhouse Washington family. Directed by Malcolm D. Lee, the film successfully brings to life Wilson’s Pulitzer Prize-winning play, transporting it from the stage to the screen while retaining the rich cultural and emotional nuances of the original work. Featuring an ensemble cast led by Denzel Washington and his sister, Pauletta Washington, the film weaves together the story of a family’s struggle with the past, the supernatural, and their identity in post-Depression Pittsburgh. At its core, The Piano Lesson is a ghost story—a literal and figurative tale about an antique piano, its haunting legacy, and its symbolic power over the lives of the characters. The film navigates a critical family conflict about the value of preserving history versus the need to let go and move forward. The Washington family brings this poignant struggle to life, deepening the emotional and thematic weight of August Wilson’s original play. Set in the 1930s, The Piano Lesson revolves around a pivotal argument within the Charles family. The story centers on the antique piano owned by Doaker Charles (Denzel Washington), a retired railroad worker, and the tension between him and his niece, Berniece (Pauletta Washington), over what to do with it. The piano is a powerful symbol of their family’s history. It was originally carved with intricate designs by their enslaved ancestor, and it holds both painful memories and ancestral pride. Berniece, who has inherited the piano, refuses to sell it, believing that it represents a living connection to their family’s past. She insists that it must remain in the family, even though it is a financial burden and occupies a central space in their home. She has a deep emotional attachment to the piano, rooted in her father’s death, which she associates with the piano’s haunting presence. In contrast, her brother, Boy Willie (played by actor John David Washington), wants to sell the piano to buy land, believing that owning land will provide them with the economic freedom and upward mobility that their family has long been denied. His pragmatic approach is based on the belief that they should leave behind the past and focus on securing a better future. The film’s central dramatic tension revolves around this argument: whether to hold on to a piece of family history or to let it go in pursuit of a better life. Yet, beneath this surface-level disagreement lies a more profound conflict. The piano itself is haunted, both by literal ghosts—spirits of the family’s ancestors—and by the emotional ghosts of the past, particularly the traumatic legacy of slavery and the loss of identity it caused. Denzel Washington, as Doaker Charles, brings a level of gravitas to his role, grounding the film in the wisdom of age and experience. His portrayal of the family patriarch is both commanding and empathetic, showcasing his character’s internal conflict about honoring the past while also knowing that his family must find a way to move forward. Washington’s nuanced performance strikes a perfect balance between stoicism and vulnerability.

Pauletta Washington, in her role as Berniece, offers a complex, emotional portrayal of a woman burdened by grief, trauma, and her connection to the past. Berniece’s protective nature, especially regarding the piano, stems from a deep love for her father, who once played the piano, and the desire to keep his memory alive. Pauletta brings depth to her character, making her a figure of both strength and sorrow, torn between holding onto the past and letting it go to allow for personal healing. John David Washington, as Boy Willie, is a force of energy and ambition, embodying his character’s youthful determination to change his circumstances. His portrayal of a man fixated on material success and autonomy contrasts sharply with his sister’s more spiritual and emotionally driven approach. Washington’s performance captures Boy Willie’s impulsiveness and confidence, making his motivations understandable, even if they are ultimately in conflict with the deeper spiritual and emotional concerns of his family. In The Piano Lesson, Wilson’s exploration of the supernatural is deeply tied to the history of slavery and the African-American experience. The piano, which serves as a literal and metaphorical medium for these spirits, holds the memories of violence, oppression, and survival. The ghosts that haunt the characters’ lives are not just the spirits of ancestors who perished in slavery but also the memories of injustices that continue to shape the lives of Black Americans. The film skillfully incorporates the supernatural without turning it into a traditional horror story. The presence of the ghosts is subtle and psychological, linked to the trauma of slavery and the ongoing impact of that history on the living. The piano itself—once a symbol of pain and loss—is now a conduit for healing, but only if the characters can learn to reconcile their differences and their relationship with the past. A particularly powerful moment occurs when Berniece, in a moment of crisis, finally plays the piano. The act of playing becomes a ritual of release, where she confronts the ghosts of the past and begins the journey toward healing. This scene, charged with emotional intensity, is a testament to the film’s theme that acknowledging and confronting history is necessary for personal growth and reconciliation. Malcolm D. Lee’s direction brings the essence of Wilson’s play to the screen without losing the intimacy of its stage origins. The film largely takes place in a single setting—Doaker’s modest home—which keeps the focus on character interactions and dialogue. Lee uses the camera to highlight the emotional intensity of the characters, capturing their internal struggles as they confront not only each other but the broader forces of history, legacy, and identity. The decision to preserve the play’s structure and dialogues works well, allowing the film to maintain the richness of Wilson’s language. Cinematically, Lee embraces the quiet power of Wilson’s writing, allowing long scenes of dialogue to unfold with minimal distraction the naturalistic set.