Movie Review: The Washington family tells a ghost story in August Wilson’s “The Piano Lesson’

August Wilson’s The Piano Lesson, a compelling drama about family, legacy, and the weight of history, takes center stage in this cinematic adaptation, starring the powerhouse Washington family. Directed by Malcolm D. Lee, the film successfully brings to life Wilson’s Pulitzer Prize-winning play, transporting it from the stage to the screen while retaining the rich cultural and emotional nuances of the original work. Featuring an ensemble cast led by Denzel Washington and his sister, Pauletta Washington, the film weaves together the story of a family’s struggle with the past, the supernatural, and their identity in post-Depression Pittsburgh. At its core, The Piano Lesson is a ghost story—a literal and figurative tale about an antique piano, its haunting legacy, and its symbolic power over the lives of the characters. The film navigates a critical family conflict about the value of preserving history versus the need to let go and move forward. The Washington family brings this poignant struggle to life, deepening the emotional and thematic weight of August Wilson’s original play. Set in the 1930s, The Piano Lesson revolves around a pivotal argument within the Charles family. The story centers on the antique piano owned by Doaker Charles (Denzel Washington), a retired railroad worker, and the tension between him and his niece, Berniece (Pauletta Washington), over what to do with it. The piano is a powerful symbol of their family’s history. It was originally carved with intricate designs by their enslaved ancestor, and it holds both painful memories and ancestral pride. Berniece, who has inherited the piano, refuses to sell it, believing that it represents a living connection to their family’s past. She insists that it must remain in the family, even though it is a financial burden and occupies a central space in their home. She has a deep emotional attachment to the piano, rooted in her father’s death, which she associates with the piano’s haunting presence. In contrast, her brother, Boy Willie (played by actor John David Washington), wants to sell the piano to buy land, believing that owning land will provide them with the economic freedom and upward mobility that their family has long been denied. His pragmatic approach is based on the belief that they should leave behind the past and focus on securing a better future. The film’s central dramatic tension revolves around this argument: whether to hold on to a piece of family history or to let it go in pursuit of a better life. Yet, beneath this surface-level disagreement lies a more profound conflict. The piano itself is haunted, both by literal ghosts—spirits of the family’s ancestors—and by the emotional ghosts of the past, particularly the traumatic legacy of slavery and the loss of identity it caused. Denzel Washington, as Doaker Charles, brings a level of gravitas to his role, grounding the film in the wisdom of age and experience. His portrayal of the family patriarch is both commanding and empathetic, showcasing his character’s internal conflict about honoring the past while also knowing that his family must find a way to move forward. Washington’s nuanced performance strikes a perfect balance between stoicism and vulnerability.