Indie Spirit Revue: "The Piano Lesson"
Sunday, January 19, 2025 at 10:00AM by Nick Taylor
A very good movie, frustratingly close to being a great one if not for one problem at its absolute center. John David Washington drags down this new adaptation of August Wilson's The Piano Lesson to an inordinate degree, baldly imitating his dad's Troy Maxson and leaving Boy Willie out to dry as a result. Unburdened from even a shred of Denzel's charisma, we get a Boy Willie who's unambiguously trying to sell you a used car even when he's supposed to be bonding with his niece or drinking with a friend. His disastrous turn skews the text even more toward Berniece than it already was - imagine what Stephan James could've done with the role instead. Imagine Stephan James being nurtured by Hollywood after his heartbreaking performance in If Beale Street Could Talk…
That's a major lapse for a film to overcome. We can also debate some of Malcolm Washington's choices with staging and tone. He doesn't always successfully negotiate the historically-informed horror he's chosen to adapt this material, especially in regards to the body-throwing finale. And he doesn't let the actors inhabit the frame together as often as he should. Part of Wilson's power is the sheer theatrical energy of bodies playing off each other in the same space. Washington's more cinematic interest in middle-shots and close-ups favors a performer's physicality, but I'd have liked more sustained interactions without ping-pong editing rhythms. He also loses points for putting a flashback over Samuel L. Jackson's big monologue - why show us a montage when we could learn more about these characters based on their reactions!!
But what works in The Piano Lesson far outpaces what doesn't, even if it can't fully escape these failures. If not every beat here is successful, Washington conjures a pretty persuasive aura of dread to Berniece's house. You can imagine a different filmmaker rhetorically foregrounding the piano more often than this does, but instead the film's thematic focus firmly grounds it as a totem suffused with generations of blood, rather than a menacing object with its own will. And the moments where Washington really showcases the chemistry between actors elevate The Piano Lesson tremendously. I'm especially fond of the four men commiserating over drinks and the amorous tête-è-tête between Danielle Deadwyler and Ray Fisher.
The Piano Lesson also boasts staggering performances from literally every cast member except for its headliner. Deadwyler has rightfully been singled out for her fierce, harrowed and harrowing turn as Berniece. She's a force of nature, but I remain slightly confused how none of the men have garnered much buzz in a weak-sauce Supporting Actor field. Did they crowd themselves out? Were the same voters who bravely picked between Anora's shady Russians so collectively dazzled by these four men they'd feel bad only nominating one and, thus, chose none? Samuel L. Jackson, Ray Fisher, Michael Potts, and Corey Hawkins all impart tremendous detail, backstory, and spontaneity into their roles, without always benefitting from Washington's blocking.
Fisher likely takes my MVP prize for making the film's most watchful figure so earnestly appealing. Still, I want to know what Jackson needs to do to receive his second Oscar nomination after decades of endlessly reliable charisma and making money for literally everyone. He shows us something about Doaker in every frame and is incredibly generous with his costars throughout. What more could voters want?
The Piano Lesson is nominated for Best First Feature and Best Supporting Performance for Danielle Deadwyler at the Film Independent Spirit Awards.
Reader Comments (3)
I love Danielle Deadwyler as an actress. She is so alive, so smart, so original! And Samuel L. Jackson brings vivid positive energy to everything he does.
But I haven’t seen The Piano Lesson. I was ambivalent because it just shrieked “vanity project” to me. Rich dad buys a classic property for 2 of his offspring, banking that the classic play and a terrific supporting cast will paperback over any inadequacies of the son/director and the son/lead actor.
John David Washington always strikes me as such a dull actor, one that we have to patiently wait while he finishes his scenes and we can get back to the parts of the movie without him. Without knowing I assumed his brother, Malcolm Washington, would be equally uninspired as a director.
It’s not that Danielle Deadwyler isn’t a draw and that we’re not interested in seeing her. It’s not that our enthusiasm for Samuel L. Jackson has abated in any way. It’s not because of them that we’re not rushing out to see the movie.
It’s the assumption that we would have to trudge through watching a couple of nepo babies diminish a classic play, with a playwright who deserves better, who deserves blazing originality, illuminating insight, and intelligence.
And nobody wants to be in the uncomfortable position of having to comment unfavourably on Denzil Washington’s family.
McGill I agree with most of what you write but i'm willing to call out JDW.
He is famous due to his father's connections and respect in the industry,I haven't liked him in anything,he sound like his dad but has not one ounce of his father's ability or charisma.
This was a real slog to sit through as most Wilson adaptations are,I knew from the first 10 mins i wouldn't enjoy it,nothing clicked not even SLJ and Danielle whilst fine does a lot of bug eyed acting,the smaller male roles were better acted and cast.
Snoozer!