As a film enthusiast with a deep appreciation for stories that resonate and challenge, I can confidently say that Malcolm Washington‘s directorial debut, “The Piano Lesson,” is a masterpiece that truly stands out. It’s not every day you see a film that feels so personal yet universal, so deeply rooted in history and culture, and yet speaks to the human condition in such profound ways.
Malcolm Washington finds it all quite overwhelming. He’s pouring his personal touch into his directorial debut, The Piano Lesson, which makes it seem like he’s creating it solely for himself or his community. However, he’s reminded that his creation will be part of the world at large. Prior to a larger audience, it was showcased at the Telluride Film Festival, and later at the Toronto International Film Festival (TIFF), its most expansive viewing yet.
In 2020, Washington, having graduated from the prestigious Directing program at the American Film Institute, was seeking his debut feature film. He was penning original screenplays when he encountered Wilson’s work for the first time. Blending elements of a family drama with ghostly tales, The Piano Lesson revolves around the Charles family, who gather to dispute over a valuable family relic – a hand-sculpted piano that portrays their ancestry.
For quite some time, I had been yearning to produce a film. When I encountered ‘The Piano Lesson’, it wasn’t a deliberate search. However, upon reading it at that particular moment in my life, it resonated deeply with me,” he explains. “Consider the choices your great-great-grandmother made to bring you here. Take some time and ponder on that! This film is a manifestation of a long journey for me, grappling with and exploring the narratives of my ancestors.
Malcolm, being the son of Pauletta and Denzel Washington, isn’t new to family adaptations of works by Wilson. In fact, Denzel himself directed a screen adaptation of Wilson’s play “Fences” in 2016, and later produced an adaptation of “Ma Rainey’s Black Bottom” for Netflix.
Before starting work on “The Piano Lesson“, a play he co-authored with Virgil Williams, Washington delved deeply into the history and culture of the 1930s, the era in which the story is set. He also consulted living relatives of August Wilson, who passed away in 2005 at the age of 60. His sources of inspiration extended beyond these personal connections, encompassing the movies of Andrei Tarkovsky and the paintings of Kerry James Marshall.
Washington recollects his efforts to persuade others to make the movie. He visited Samuel L. Jackson’s home and presented a large collection of images, narratives, and ideas he had gathered, detailing his vision for the film. One part of his pitch centered around his initial encounter with Kerry James Marshall’s Invisible Man series. The paintings are created using a muted color scheme that necessitates viewers to get near the artwork to fully appreciate it. During their conversation, Washington shared with Mr. Jackson how this painting had left a significant impact on him and how he intended to approach his work in a similar manner – offering an expectation but revealing itself upon closer inspection.
To Washington, “The Piano Lesson” was much like: It’s a tale that offers deeper insights as one delves further into its depths.
The plan was successful, leading Jackson to join the cast, along with a principal group that features Ray Fisher, Michael Potts, Corey Hawkins, Danielle Deadwyler, and John David Washington.
Many members of the cast for The Piano Lesson were already well-acquainted with August Wilson’s work. To explore the connections between the cast of The Piano Lesson and the original Wilson stage production, as well as his broader body of work, a diagram might be helpful. As Washington explains, “Sam Jackson and Mr. Potts are like our ancestors. They’re like guardians of August Wilson. They’re original Wilson enthusiasts.” Jackson had previously understudied for the play on Broadway following its premiere at Yale Repertory Theatre in 1987. Just a year before filming, John David and Fisher made their Broadway debuts in a revival of the play that also featured Jackson and Potts in 2022.
Washington’s elder sibling, John David, portrays the flamboyant character Boy Willie, a proponent of selling the piano to finance his ambition of acquiring a farm. On collaborating with him, the director expressed, “When you get a chance to make a film, you say, ‘Alright, let me give it my best shot.’ I thought, ‘I’m not going to be subtle and wait a few years.’ Instead, I said, ‘Brother, I’m making a movie, are you game?’ He’s someone who has witnessed my work and recognized me as an artist before others did.” John David, who has previously worked with directors such as Christopher Nolan and David O. Russell, eagerly accepted the offer.
The movie was filmed in Georgia, using studios for interior scenes like the main character’s family living room and its significant piano. For outdoor shots, filming took place in Canton, Georgia, where production designer David Bomba recreated a Pittsburgh street corner based on his and Washington’s research of the protagonist’s old neighborhood.
When transitioning stage plays into movies, many directors emphasize the importance of escaping the limited setting that the original work was based on, venturing beyond single and unchanging backdrops. Washington focused on his actors to give his film a sense of grandeur.
Washington quotes a filmmaking hero of his, Paul Thomas Anderson: “He said something one time where he’s like, ‘You know, everybody talks about set pieces.’ He’s like, ‘The best set piece is a great actor,’ ” says Washington. “There’s nothing that a huge set piece can do that’s the same as watching a 10-page Samuel L. Jackson monologue.”
In the final moments of “The Piano Lesson”, after all ghostly and symbolic spirits have been banished and the family has found peace with their history and current circumstances, the screen fades to black and a brief message appears: “for Mama”. The director’s real-life mother, Pauletta, portrays Mama Ola in the movie, who is Bernice (played by Deadwyler) and Boy Willie’s (portrayed by John David Washington) onscreen mother.
Malcolm Washington expresses his thoughts about Bernice, considering her as a mother. He reflects on her bond with her own mother, the influence mothers have on everyone, and the optimism they instill in future generations,” states Malcolm Washington.
Speaking about the title sequence, he shares, “To obtain this title card, a battle was waged, and upon victory, we organized a screening of the film in New York for both cast and crew. Erykah Badu, who portrays a singer, stands beside my mother, who is already moved to tears by the film’s emotional finale. I exclaimed, ‘Mom, look! Look at the screen!’ Upon viewing it, she collapsed into my arms and we embraced.
The filmmaker often recalls the discussions he had with Costanza Romero, Wilson’s widow, when speaking about his mother. Washington recollects that Miss Constanza used to share how, while working on his projects, Wilson would occasionally glance back and express, “I hope my mom will be proud of this.
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2024-09-08 15:55