The Piano Lesson

August Wilson is underrated in contemporary culture. Not by academics or theater people, who treat him with the respect he deserves. But by the broader culture that increasingly equates Black American storytelling with contemporary progressive politics. Wilson's work does not fit that mold. His plays are about property, ancestry, obligation, masculine purpose, and the cost of forgetting where you came from. Those are not progressive themes. They are ancient themes. Which makes The Piano Lesson, adapted for Netflix by Malcolm Washington and arriving in 2024, a useful corrective.

The setup: Boy Willie Charles (John David Washington) arrives from Mississippi at the Pittsburgh home of his sister Berniece (Danielle Deadwyler) and Uncle Doaker (Samuel L. Jackson) with a plan. He wants to sell the family piano, an heirloom carved by his enslaved great-great-grandfather with portraits of the family, and use the money to buy the land in Mississippi where their family was once enslaved. Own the land. Build something. Stop living on someone else's property.

Berniece refuses. The piano is the family's history. It was stolen from a white family at the cost of two of their relatives' lives. You do not sell the blood of your ancestors.

This is the central argument of the play, and it is not one with a clear winner. Wilson is not making a simple case for one side. Boy Willie is not wrong. Berniece is not wrong. They are both right about different things, and the tension between them, the obligation to the past versus the obligation to the future, is something every family that has ever argued about what to do with an inheritance will recognize.

The film earns TRADITIONAL LEAN because its fundamental values are traditional ones. Ancestral obligation is not a progressive concept. The idea that you owe something to the dead who paid a price so you could live is not a progressive concept. Boy Willie's hunger to own land, to plant his feet in a place that belongs to him, is one of the oldest masculine drives in human civilization. The film honors all of this without irony.

Malcolm Washington directs with real authority for a debut feature. He keeps the chamber-drama energy of the play alive while expanding the physical world. Samuel L. Jackson does the quiet work here: Doaker is the keeper of the family's history, and Jackson plays him with the kind of gravity that comes from actually understanding what you're carrying. John David Washington as Boy Willie is the film's engine, funny and infuriating and ultimately more than the loudmouth he appears to be. Danielle Deadwyler is very good. The ensemble is uniformly strong.

The supernatural finale, where Berniece finally plays the piano to call on the ancestors to cast out the ghost that has been terrorizing the house, is handled with conviction. Branford Marsalis's score does not signal horror. It signals presence. The ancestors in this film are not demons. They are invested. The film believes in them. That spiritual dimension, the idea that the dead have a legitimate claim on the living, is not a modern progressive position. It is very old.

The woke trope score reflects the film's framing of slavery and racial oppression as the primary identity lens for the characters. That framing is present and authentic, but it is not the film's only or even primary interest. Wilson uses history to talk about human beings, not the other way around. The net margin is +5 TRAD, which is correct.

This is a serious film made with care about material that deserves care. It is not perfect. The pacing sags slightly in the middle and the first-time direction occasionally leans on the source material rather than fully translating it. But as an introduction to August Wilson for audiences who have not read the plays, it is exactly what it needs to be.

Formula: Weighted Score = Severity × Authenticity Multiplier × Centrality Multiplier

🔴 Woke Tropes

Trope	Severity	Authenticity	Centrality	Score
Slavery and racial oppression as the primary identity framework	2	High	High	2.52
Systemic racism as explanatory lens for family conflict and individual choice	2	High	Moderate	1.4
TOTAL WOKE				3.9

🟢 Traditional Tropes

Trope	Severity	Authenticity	Centrality	Score
Ancestral legacy and family honor as binding moral obligation	3	High	High	3.78
Man's drive to own land and build a future through honest work	2	High	High	2.52
Family bonds and communal loyalty honored above personal gain	2	High	Moderate	1.4
Spiritual and ancestral dimension treated as real and authoritative	1	Moderate	Moderate	1
TOTAL TRADITIONAL				8.7

Score Margin: +5 TRAD