A strong cast lifts 'The Piano Lesson'

  Members of the Washington family -- as in Denzel, Malcolm, and John David -- are playing a major role in preserving the literary legacy of the late August Wilson, at least on screen. It has been eight years since Denzel Washington directed and starred in Fences, but the deep connection between Wilson's material and the Washingtons continues.

    For the latest entry, The Piano Lesson, Denzel Washington serves as one of the film's producers. His son -- director Malcom Washington -- offers a screen version of The Piano Lesson, one of 10 pieces in Wilson's Pittsburgh Cycle. 

  Ma Rainy's Black Bottom (2020), another play in the cycle, was directed by George C. Wolfe with Denzel Washington as one of the film's producers.

   Marked by inspired acting and richly colored cinematography, The Piano Lesson features John David Washington, the oldest of Denzel's four children, as Boy Willie, a young man who arrives in Pittsburgh during the 1930s with hopes of selling an elaborately carved piano that has become a prized family possession. 

   When Boy Willie's sister Bernice (Danielle Deadwyler) refuses to sell, a drama about memory, family history, and heritage begins to take shape.

 A strong supporting cast adds to the movie's richness. Samuel L. Jackson portrays Doaker, a family uncle who presides over the house where Bernice and her 11-year-old daughter (Skylar Aleece Smith) also live. They've become the northern branch of the family.

 Corey Hawkins plays Avery, a Pittsburgh man who wants to marry Bernice and establish himself as a local preacher. Michael Potts appears as Doaker's older brother, a former piano player and heavy drinker who adds jolts of live wire energy whenever he's on screen. 

  Adapted from Wilson's play by Malcom Washington and Virgil Williams, the movie uses a ghostly reminder of the Old South to symbolize the lingering oppression that the family tried to escape by moving north. It struck me as a bit too literal.

  This part of the play, complete with an exorcism, rattles the screen but doesn't go down easily. Attempts to open the confinement of an essentially  one-room drama are semi-successful.

   But Wilson’s strength, his ability to find characters who encapsulate and enrich depictions of Black American life remains and his themes (family tensions, crushed dreams) have broad reach.

   Malcom Washington's debut directorial effort gives a strong ensemble cast an opportunity to bring memorable life to Wilson's richly drawn characters. They take full advantage of it. So should we.