Washington
‘The Piano Lesson’ Review: A Promising Debut for Malcolm Washington Leans on the Acting Prowess of Its Star-Studded Cast
“The Piano Lesson” is the latest in a string of recent adaptations of August Wilson’s 10-play American Century Cycle, after 2016’s “Fences” and 2020’s “Ma Rainey’s Black Bottom.” Denzel Washington starred in and directed the former and he produces his son Malcolm Washington’s feature directorial debut here. Denzel’s other son (Malcolm’s brother) John David Washington stars in the ensemble piece, Malcolm’s older sister Katia Washington executive produces, and rounding out the firmly family affair, the film is dedicated to Washington family matriarch, actress Pauletta Washington, with a “for mama” on screen dedication.
“The Piano Lesson” opens in 1911 Mississippi, as Fourth of July fireworks bathe a wordless heist in red and blue flashes. A group of unnamed Black men break into an empty house to steal a piano. Early the next morning, some white men on horses burn a remote cottage down in retribution, but the thieves escape.
It’s a stark opening, one that indicates this adaptation might not be as beholden to the single-location setting of its source material. Unfortunately, Malcolm’s adaptation is largely faithful to Wilson’s play and is likewise grounded in one location.
It all kicks off 25 years after that heist when Boy Willie (John David Washington) and his friend Lymon (Ray Fisher) arrive unannounced to Willie’s uncle Doaker (Samuel L. Jackson) and his sister Berniece’s (Danielle Deadwyler) Pittsburgh home, a truckful of watermelon in tow. Their arrival comes with a plan, one the loudmouth Boy Willie shares freely with whoever will listen. Cash from selling these watermelons to Northerners along with some money he’s saved up will make up two-thirds the amount needed to buy some property back in Mississippi. It’s this final third that drives “The Piano Lesson:” Boy Willie wants to sell the family heirloom – the beautiful hand-carved piano at the center of the opening heist — which now sits in Berniece and Doaker’s living room in Pittsburgh. Hand carved engravings seen in quick glimpses in the dark in the opening are now visible in great detail — this piano is quite exquisite and a testament to the work of production designer David Bomba.
This piano represents a heavy history for the family and each member has a different way of dealing with this pain. Berniece won’t consider selling it — there’s been too much family bloodshed spilled around it — namely that her and Boy Willie’s father was killed the morning after the heist — to just unload it. Treating it with a reference bordering on fear, she even refuses to play it. Boy Willie is more cavalier, seeing it as a valuable asset that can help him move up in the world, a key to granting him the invaluable title of property owner. This opportunity doesn’t come around often for a Black man, especially in the South in 1936, and he’s eager to seize on it. “The Piano Lesson” becomes a potent story surrounding generational trauma and the different ways in which people confront, ignore, or run from it. It also looks at how class and race are deeply intertwined throughout America’s history.
Malcolm adapted Wilson’s Pulitzer-winning play with Virgil Williams, a veteran TV writer with credits on “24”, “ER” and “Criminal Minds”. Aided by Wilson’s foundational prose, the script trades bravura speeches with smaller moments illustrating how people with deep familial bonds interact. While Deadwyler’s Berniece who can come across as a bit of a killjoy at times, you understand her annoyance at the chaos these unannounced relatives bring into her home. She has a child to take care of, keeps seeing an ominous ghost upstairs, and simply doesn’t have time for the tom foolery these men bring.
Malcolm’s knack is in staging the men hanging out. In the film’s most powerful sequence, Boy Willie, Lymon and Wining Boy (Michael Potts as Doaker’s brother who just arrived from Kansas City) begin singing a work song from their farming days back in Mississippi. Doaker is reluctant to join in — uninterested in recalling a time in his life firmly in the rearview mirror. But he can’t resist, and the four men combine to create a powerful kitchen choir, supplemented with banging on the table and clapping, and different solos allotted to each man. The extended sequence is breathtaking, one that highlights Malcolm’s confidence — this is not a set piece many first time directors would dare stage. This kid Malcolm has guts.
Samuel L. Jackson shines as Doaker, a man content to spend his later days up North, sitting on the porch smoking during the day and drinking whiskey with his brother and nephew at night. Jackson, who can dial it up when called upon, is more subdued here, embodying a man worn out from all he experienced down south, and seeks a quieter existence miles away from all of that. That being said, he can appreciate that his nephew Boy Willie hasn’t lost his spark, his anger, his ambition. As such, his patience for his obnoxious nephew contrasts Berniece who simply doesn’t have it in her to tolerate him.
In contrast, John David Washington’s performance as the brash Boy Willie, reads as the closest to a performer reciting monologues from a play. His lengthy speeches and performative body language arrive out of step with the other performances — which favor a straddling of theatrics and subtlety — and derail the film’s emotional core at key times.
Ray Fisher as Lymon is the reserve to Boy Willie’s cocky. He may be dim but certainly knows what he’s doing when he utilizes his lumbering frame and slow speech to casually woo ladies, including Berniece in a lengthy seduction — one of the film’s finer moments. Here, Malcolm proves he can handle the delicacies of staging a slow romancing, alongside the more boisterous familial arguments and late night drinking sessions.
Alexandre Desplat’s score is expectedly lush, if not a little overbearing in spots, often working with the sound design to allude to the film’s supernatural elements ahead of them taking center stage later. The story approaches outright horror territory for the climax. It’s a bold choice, to toe the line of genre, and it ultimately hijacks the narrative and makes the emotional catharsis ring as less resonant. For all of his confidence in directing star actors playing off one another, Malcolm shrinks from the opportunity to tackle an emotional climax in a straightforward, head-on way. Cinematographer Mike Gioulakis’ camerawork marries classic technique with a more contemporary showiness. Like the rest of the movie, it’s polished and sturdy — seeking to ground the performances without being either too boring or attention-grabbing.
With Wilson’s source material full of appropriately weighty topics to mine, Malcolm Washington’s adaptation of “The Piano Lesson” is referential, often overly so, and while this version contains its fair share of standout sequences along with Oscar-ready performances, the film never fully coalesces into an effective, singular, emotional narrative. The reasons behind can be hard to single out, subtle as they can often be. The supernatural component lingering throughout takes center stage in the final act, and this pivot hews a little too closely to the contemporary “elevated horror” trend involving facing one’s trauma as the only way to dispelling malevolent spirits. John David Washington’s performance exasperates instead of complementing his co-stars, and the largely single-setting fails to realize the scope of how cinema can move beyond the stage in both visual and narrative terms. However, there’s enough promise here to mark this an impressive debut for Malcolm Washington and point to a newcomer to track.
Grade: C+
“The Piano Lesson” premiered at the 2024 Telluride Film Festival. Netflix will release it in select theaters on Friday, November 8, followed by its streaming premiere on Friday, November 22.
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Washington
Jurors in sandwich thrower case talk about their deliberations in his trial in Washington, D.C.
The brief federal criminal trial last month of Sean Dunn, the man who threw a “submarine-style sandwich” at a Customs and Border Protection officer in downtown Washington, D.C., was only a misdemeanor case. But the courtroom was filled, and the overflow room was crowded, too.
The 12 jurors didn’t realize initially that Dunn’s case — and their verdict — would garner national attention.
One juror thought the deliberations would last under an hour. The juror, a longtime resident of Washington, D.C., also noted that some people in the courtroom struggled to “keep a straight face” during the trial and even laughed openly.
“It seemed to me like an open and closed type of thing,” another juror said. “It was kind of ridiculous.”
Dunn hurled the sandwich at the CBP officer stationed at a busy intersection in August. The incident was widely publicized and quickly became a symbol of resistance against President Trump’s federal policing crackdown and National Guard deployment in the nation’s capital.
After roughly seven hours of deliberation, the jury acquitted Dunn. It was the second time a group of D.C. citizens rejected the Justice Department’s claim that Dunn, who was fired from his job at the Justice Department after the incident, had committed a crime in tossing a sandwich at a federal agent. A separate grand jury had rejected the prosecutors’ request to indict Dunn on a felony charge earlier this year.
Inside the jury room
Three jurors who sat on the panel spoke with CBS News about the deliberations, revealing how the politically charged case played out behind closed doors in the jury room of the E. Barrett Prettyman federal courthouse in Washington, D.C., near the U.S. Capitol.
All asked to remain anonymous. A court order from the chief judge of the D.C. U.S. District Court prohibits CBS News and other media outlets from publishing the jurors’ names.
The jurors described an initial 10-2 split on the 12-person panel. The deliberations were not as simple as some of them had expected.
The majority of jurors thought the incident did not merit criminal charges, or that criminal intent was not proven, according to two of the members of the panel. One juror told CBS News, “I thought we’d be out of there quickly. This case had no ‘grounding.’ He threw a sandwich at the agent because he knew it wouldn’t hurt. A reasonable person wouldn’t think a sandwich is a weapon.”
A second juror, who told CBS News this was not her first time serving on a D.C. jury, said the panel eventually “agreed that this is not and should not have been a federal case.”
The jurors said the two initial holdouts worried that a not guilty verdict would send a message that it’s sometimes acceptable to throw things at federal agents.
The two jurors told CBS News that the jury debated at length about the type of “criminal intent” that needed to have been demonstrated by prosecutors.
One juror said, “We asked each other: If we only look at this case, can someone really do harm to someone wearing a ballistic vest by throwing a sandwich?”
One of the jurors also credited the “gentle and patient” foreperson with coming up with a productive communications strategy during deliberations.
A juror who spoke with CBS News by phone was surprised to be assigned to the case, because the juror had heard about the prior rejection by a grand jury of Sean Dunn’s felony case.
“I was surprised some of the other jurors were unfamiliar with it,” the juror said, noting the headlines generated by Dunn’s arrest and the video of the sandwich toss in August.
Though the case was a misdemeanor, without the prospect of a lengthy prison term for conviction, one juror said she noticed an unusual tension in the proceedings at trial.
“There seemed to be a lot of back and forth between lawyers and the judge to begin with. I’ve been on a jury before, and that hasn’t happened,” she said. “So, that kind of stood out to me.”
The notoriety of Dunn’s case and the political tensions surrounding the Trump administration’s deployment of federal agents on the streets in D.C., added a unique stress on the jurors. Three told CBS News they’re worried about being publicly identified and facing the prospect of threats or harassment.
“We were very scared and nervous about what this meant for us,” one juror said.
The same juror, who was familiar with the case before she was selected, said she thought Dunn looked “really sad and desperate at the defense table because he was going up against the U.S. government.”
One juror noted one witness and some attorneys in the room appeared to “giggle” or fight to keep a “straight face” during some of the testimony.
“I mean,” the juror said, “it was a thrown sandwich.”
Washington
No. 24 USC gives up 18-point lead, falling to Washington for first loss
Over the course of USC’s undefeated start, with its star freshman still out, its leading scorer nursing an ailing shoulder and one of its best defenders down because of an injured hip, coach Eric Musselman still managed to make the best of his ravaged roster.
USC had won eight straight, sweeping its nonconference slate and winning its Big Ten opener at Oregon. It swept through the Maui Invitational, beating three real teams in the process. With every punch, the Trojans had been ready to punch back.
Then came Saturday, when a former Trojan delivered the knockout blow in the Big Ten home opener at Galen Center, ending USC’s undefeated start in the most painful fashion possible in an 84-76 loss to Washington.
USC led for all but six minutes and in the first half looked primed to run away with its second Big Ten win, leading by 18 at halftime. But it all came unraveled in the final 10 minutes as Washington scored 24 of the last 30 points to stun USC. It was Desmond Claude, the Trojans’ leading scorer last season, who propelled Washington to victory.
The Trojans still led by 10 with 10 minutes remaining, and after such a resounding start it seemed only a matter of time before they kicked back into gear. But they shot just 25% in the second half after making 50% in the first.
Chad Baker-Mazara led USC with 21 points but made only one of seven shots after halftime. Without him the offense dried up in a hurry.
Washington caught fire late, led by Claude, who had just four points in the first half but finished with 22.
USC cut Washington’s lead to three with just over a minute remaining. But Washington put the ball in Claude’s hands and he delivered, driving for a lay-in high off the glass and getting fouled.
The Huskies started the game in dismal fashion, turning the ball over seven times in the first seven minutes and making only two of their first 12 shots.
But those tides turned completely in the final minutes, dealing USC its first loss — and a brutal one at that.
Washington
Cyclones name WSU’s Rogers to replace Campbell
Washington State coach Jimmy Rogers has agreed to a six-year deal to become the next coach at Iowa State, the school announced Friday.
Iowa State athletic director Jamie Pollard moved quickly to replace departing coach Matt Campbell, who agreed to an eight-year deal to take over Penn State on Friday, and landed Rogers, a proven winner at the FCS level who just concluded his first regular season at Washington State.
“Jimmy Rogers is a rising star in college athletics who has very strong ties to the Midwest both as a player and as a coach,” Pollard said in a statement. “He has been on my short-list ever since the first time I met him. He immediately impressed me with his interest in Iowa State University and told me during our first visit several years ago that he wanted to be the next head coach at Iowa State.
“Since our initial meeting, I have stayed in close contact with him and have been very impressed with his work ethic and understanding of what it takes to be successful at Iowa State,” Pollard added. “He is a proven winner who has demonstrated throughout his career that he will fit our culture.”
Rogers, 38, has a 33-9 record over three seasons as a head coach. He went 6-6 in his debut season at Washington State after overseeing a significant roster rebuild following the departure of coach Jake Dickert to Wake Forest.
“My family and I are excited to be joining the Iowa State University community and the Cyclone football program,” Rogers said in a statement. “Iowa State has been one of the nation’s top programs for the last decade and we look forward to building upon its upward trajectory. I’m extremely grateful for the opportunity that Jamie Pollard has given me to lead the Cyclones.”
Rogers previously spent 12 years at South Dakota State and led his alma mater to an FCS national championship in 2023 with a 15-0 season in his first year as the Jackrabbits’ head coach after taking over for longtime coach John Stiegelmeier.
Rogers carried a 29-game win streak into his second year as coach and achieved a No. 3 finish in 2024 with a run to the FCS playoff semifinals and a 12-3 season.
The Jackrabbits also won the FCS national championship in 2022 after Rogers was elevated to being the team’s sole defensive coordinator, and they played for another FCS title in 2020.
Campbell, the winningest coach in Iowa State history with 72 victories, led the Cyclones to eight winning seasons during his decade at the helm and two appearances in the Big 12 championship game.
The Cyclones went 8-4 this season and are awaiting their bowl selection on Sunday.
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