In conversation with Malcom Washington- “I had to let go of apprehension…Their stories would live no more if I did
While the modern Hollywood star seems terrified to acknowledge any sort of family relation, as if this revelation would instantly discredit their work and ruin any credibility as an artist, Malcom Washington’s earnestness is refreshing. When sitting down for a chat with him on his LFF debut, Malcom Washington (33) embraces his family legacy in his debut feature, about intergenerational trauma.
In Hollywood, talent often runs in families. The Washington family is a prime example of this phenomenon, with each member carving out their own niche in the entertainment industry. Obviously, everyone knows legendary actor Denzel Washington, but there's also son John David’s on-screen success in movies such as “Tenet” (2020) and “Blackkklansman” (2018), Olivia’s theatrical work in “Slave Play” (2024 West End production), and most recently Malcom’s debut as a film director. The adaptation of August Wilson's play "The Piano Lesson" serves as a testament to the family's collective artistic prowess.
An adaptation of the 1990 Pulitzer winning play by August Wilson, the film blurs the lines between family drama and ghost story. Set in 1936, Pittsburgh, “The Piano Lesson” follows the lives of the Charles family in the Doaker Charles (Samuel L. Jackson) household and an heirloom. This family piano documents the family history through carvings made by their enslaved ancestor. The movie is centered on arguments between brother Boy Willie (John David Washington), who’s eager to sell the piano so he can buy a piece of land, and sister Bernice (Daniel Deadwyler), who refuses to do so.
Adapting a Pulitzer Prize-winning play by one of America's most celebrated playwrights is no small task, but the first-time director jumps into the project confidently. “‘I’m just the guy for the job.”, Washington stated when the August Wilson estate offered him to develop the adaptation. From anyone else this comment would come off as smug. But considering Denzel Washington’s connection to Wilson’s work (most notably winning a Tony for the 2010 Broadway production of “Fences”, and later directing its film adaptation), his plays have become as much part of the Washingtons’ legacy as of Wilson’s himself. The responsibility to carry this towering legacy could scare off other newcomers, but not Malcom. After all, the ever-resonant themes of Wilson’s plays are interwoven in his heritage.
Maybe the only other person as closely linked to Wilson’s work, is Samuel L. Jackson. Originating the role of Boy Willie in 1990, Jackson now takes on the role of Doaker Charles, uncle to the main sibling duo. Jackson is also one of the many actors from the 2022 Broadway revival of the play who are reprising their roles in the film, such as John David Washington and Ray Fisher.
When asked about Jackson’s involvement, Malcolm tells a story about a trip to the Pittsburgh library to research Wilson’s collection. “[I found] a letter Samuel L Jackson wrote to august Wilson, talking about what this opportunity meant to him. And you can tell when you’re reading it that it is a young man speaking to the giant, and now I am here, a young man speaking to a giant, now talking to him about being in the movie and what the role means.”
The archival process in preparation for the film creates a touching link between the older and younger generations. Malcolm's ability to guide these performers in the transition from stage to screen helped them to modulate their performances for the more intimate medium of film. In fact the sole newcomer to the cast is the wonderful Deadwyler, who acts as the emotional center of the film, powerfully balancing between stern and sensitive. Deadwyler’s inclusion provides the film with a female lens that is not often explored in stories about family heritage.
“When I started the movie, it was about father and son, but halfway through, I w as like, there's a mother and daughter thing going on here, and that was quite important.” When tackling themes such as intergenerational and racial trauma, as well as family legacy, Washington understands that it is not enough just to scratch the surface.
He recalls a childhood anecdote about how his mother, who grew up in North Carolina, would make mud pies with the state’s characteristic red dirt. This story bleeds into the film in a scene where Boy Willie remembers a conversation he had with his father about the power of acquiring land, while they both soak their hands on the ground. “There’s always relation to the land, land is the thing they fought over, bled over, died for.” Washington, pulling from his mother’s experience, brings an almost delicate sensory perspective of physical land- which is traditionally explored as a masculine theme.
Washington cites Gil-Scott-Heron’s poem “On Coming from a Broken Home” as inspiration. The final phrase of the poem (“Women have guided my life, But because of them– I am a man, God bless you mama– and thank you”) could well serve as the film’s testimony. As the credits roll, Washington dedicates the film to his mother. He actively turns the film into a family affair. He allows himself the agency to create that familiar comparison with nuance and care, before the public is able to do so itself.
When asked about carrying his family legacy as it pretains to the film Washington thoughtfully responds: “Not only is it something you cant run away from, but is actually something that is holding you up. And people might know who your dad is and might know who your mom is, but they don’t know who your grandfather was, and that’s the person who made them possible. So are you gonna dishonour that man?”
The most striking element of The Piano Lesson is its atmosphere, the genre-bending score, the characters' connection with nature, and the intimacy of the Charles household. This is thanks to the director choosing to inform his decisions not only from his experiences, but the experiences from generations before him. Malcom Washington carries his last name with such eloquence and grace, that it makes you wonder: Why is it that family lineage is so desperately concealed in Hollywood nowadays? and, What kind of stories could we get if creatives weren’t so afraid to acknowledge their own history?
