Malcolm Washington’s The Piano Lesson takes August Wilson’s iconic play and transforms it into a heartfelt, cinematic experience that balances the story’s theatrical roots with fresh, visual storytelling. With Denzel Washington producing and his son John David Washington starring, this Netflix adaptation feels deeply personal—a story about family legacy made by a family steeped in storytelling.
At the center of the film is a piano, not just any piano but one carved with the faces of Berniece and Boy Willie’s ancestors. To Berniece (played powerfully by Danielle Deadwyler), it’s a sacred piece of family history, a symbol of all their ancestors endured and sacrificed. To her brother Boy Willie (John David Washington), it’s the key to a brighter future. He wants to sell it and use the money to buy land their family once worked as slaves. This clash between honoring the past and pursuing the future fuels the entire story.
Danielle Deadwyler completely owns this role, bringing so much depth to Berniece. She doesn’t just play the character; she is the character—grieving, fierce, and unshakably rooted in her beliefs. John David Washington matches her energy, portraying Boy Willie with a fiery drive that makes their sibling tension feel painfully real.
The film opens with a gripping heist scene—Boy Willie’s father and his accomplices stealing the piano, fireworks lighting up the night sky. It’s a moment that pulls you into the story and sets the tone for the family’s struggle with history. Malcolm Washington’s direction really shines in moments like these, blending emotional weight with striking visuals.
Samuel L. Jackson as Doaker is a quiet force in the movie, offering wisdom and humor, while Michael Potts as Wining Boy brings levity and soul with his music and stories. These moments of music and storytelling feel alive, grounding the film in a culture that thrives on oral history and shared memory.
The ghost of Sutter, the former slave owner haunting the family, adds a layer of supernatural tension, but it’s also a metaphor for the trauma that still lingers in their lives. The film doesn’t lean too heavily on the ghostly elements, though—it’s more about the living and their choices.
If there’s a downside, it’s that the film still feels a little “talky” in parts, a remnant of its stage origins. But when the visuals take over—whether it’s Berniece silently facing the piano, Boy Willie bursting with plans for the future, or flashbacks to the family’s past—the story truly comes alive.