Malcolm Washington’s feature debut is a story about Black ambition and “an important window into the Black experience that is as relevant today as ever”, says Kevin Bourne in his The Piano Lesson film review.
There are a number of legendary Hollywood families who have been entertaining audiences for generations―the Barrymores, the Fondas, the Copollas, the Wayans, and the Arquettes to name a few. Now, there’s a new entrant into the list of famed Hollywood families―the Washingtons.
For decades, Denzel Washington has been among Hollywood’s most talented actors, reaching heights most Black actors can only dream of. Shoot, heights that most actors of all ethnicities would dream of, period. In recent years, his football player turned actor son, John David Washington, followed in his footsteps, making a name for himself in films and TV shows like BlacKkKlansman and Ballers. Katia Washington works behind the scenes as a producer, while Olivia Washington is an actor in her own right. But the Washington who is making a bit more noise this year is Malcolm. If the Washingtons were a basketball squad, he’d be crowned Most Improved Player.
Similar to Katia, Malcolm Washington is more so behind the scenes, having served as a producer on the comedy drama North Hollywood. But it’s his feature directorial debut that is generating buzz.
Starring John David Washington, Danielle Deadwyler, Ray Fisher, Erykah Badu, Trey Byers, Corey Hawkins, and Stephan James, The Piano Lesson follows the Charles family as they decide what to do with the family piano, past down from their father. Set in 1936 Pittsburgh during the aftermath of the Great Depression, Boy Willie (Washington) visits his sister Berniece (Deadwyler) with intensions of selling their father’s piano in order to buy a farm. The film is the third in a trio of August Wilson films which have been adapted for film after Fences (2016) and Ma Rainey’s Black Bottom (2020).
This is truly a family affair with Malcom serving as director and co-writer, Denzel and Katia as producers, and John David and Olivia, who is Malcolm’s twin in real life and plays Young Mama Ola, as members of the cast. Apparently it was John David who told his father that his younger brother had some ideas for the film which ultimately led to him being entrusted to write and direct it. That’s a nice little alleyoop from big bro.
The film is anchored by nomination-worthy performances by Washington and Deadwyler, as brother and sister, that can only be described as explosive. Their passionate disagreements were very believable; almost scary. You know those ones around the dining table where it looks like someone is about to get hands put on them? Well, this is one of those. This film does such a good job of capturing the Black experience that it feels very familiar, almost like a journey home, despite being set almost 90 years ago.
The film explores different facets of Black life and culture, including jazz and gospel music, and the outlet Black people find in music and dance, whether at church or the jazz club. It also explores faith and spirituality, whether through Christianity or calling on our ancestors, which adds supernatural and paranormal elements to the film. While this could’ve easily been another Black trauma movie, Malcolm Washington skillfully stays clear of making this a film about Black pain. If anything, when you look under the hood, it’s actually a film about Black ambition, our desire for upward mobility, the lengths we’re sometimes willing to go to in order to fulfill our dreams, and our willingness to defy those who may stand in our way, even if it’s our family.
Overall, this film is an important window into the history and life of Black families and the Black experience, which is as relevant now as ever.
Kevin Bourne is SHIFTER’s Toronto-based editor and Senior Entertainment Reporter focusing on Black music and film & TV. He was named one of 300 international voters for the 81st and 82nd Golden Globe Awards by the Golden Globe Foundation and a Tomatometer-Approved Critic by Rotten Tomatoes.
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