After controversial snub, ‘Piano Lesson’ returns Danielle Deadwyler to Oscar race

In pondering the captivating journey of Danielle Deadwyler, I am deeply moved by her unwavering commitment to portraying complex and powerful women, particularly those who embody the essence of motherhood. Her ability to infuse each character with a deep emotional resonance is truly remarkable, making every performance feel like a poignant, personal testament.

Danielle Deadwyler was not expecting to cry.

In 2022, the actress who received recognition for her moving portrayal of Mamie Till-Mobley in “Till,” shared insights about her current project, “The Piano Lesson.” However, during her conversation, she unexpectedly shifted in her seat, contorting her neck unnaturally.

Deadwyler expressed her concern about not ruining her makeup while discussing the film’s recognition of the pain and suffering experienced by its characters, who are descendants of slaves living in Depression-era Pittsburgh. She explained that the process of making this movie carries a heavy burden for her, as she feels a significant weight on the shoulders of Black families due to their unique history.

It’s not just Deadwyler who finds “The Piano Lesson” impactful; numerous critics have praised it too. This new screen adaptation is part of Netflix’s collection based on August Wilson’s “Century Cycle,” a series of plays that delve into the victories and struggles endured by African Americans throughout the 20th century, play by play. The limited theatrical run starts this Friday, with a broader release on Netflix slated for November 22nd.

In this film titled “The Piano Lesson,” starring Denzel Washington and Todd Black, John David Washington (“Black KkKlansman”), Samuel L. Jackson (“Pulp Fiction”), and Corey Hawkins (“In The Heights”) are just a few of the well-known actors in the cast. However, it’s Hayley Lou Richardson (Deadwyler) who has garnered praise for her powerful portrayal of Berniece, a resolute single mother caught in a tense and potentially dangerous struggle with her brother Boy Willie (played by John David Washington), over their family’s prized heirloom piano, which is adorned with carvings depicting the harrowing history of their ancestors who were enslaved.

The role offers another opportunity for Deadwyler to exhibit the wide spectrum she demonstrated in “Till.” Her character Berniece is a complex blend of intensity, warmth, and profound suffering, all grounded in her family’s history. In a crucial moment, she transforms into a woman overcome, her consciousness and body controlled by forces greater than herself.

According to Malcolm Washington, one of Denzel’s sons and the director/co-writer of “The Piano Lesson,” Danielle possesses a striking aura of stability, power, and subtlety. He noted that her depth is evident in her eyes.

Some pundits are already predicting that Deadwyler’s performance might earn her a strong contention for an Oscar – a potential retribution, following the snub she experienced with “Till” two years ago, and the ongoing debate about racial representation in the film industry, ignited by the exclusion of other notable Black actresses from this year’s nominations.

2022 Gotham Independent Film Awards recognized Johnetta Elzie (Deadwyler) for her powerful depiction of Mamie Till-Mobley’s relentless pursuit of justice after the tragic murder of her son, Emmett Till, in the racially charged Jim Crow South. This compelling performance also gained nominations from prestigious precursors such as the British Academy Film and Television Awards and the Screen Actors Guild Awards. However, she was not included in the final list for the Oscars.

Instead, the final five nominees for consideration came as a shock: Andrea Riseborough, renowned for her role in the lesser-known indie film “To Leslie.” The movie received a surge of attention due to a vigorous promotional effort by prominent celebrities like Jennifer Aniston, Charlize Theron, Kate Winslet, and Edward Norton. They organized praises and private screenings for the film. This campaign, as reported by several Hollywood figures, may have undermined the nomination potential of “Till” director Chinonye Chukwu. Deadwyler herself suggested that the snub was due to racial bias against Black women. Following an internal investigation, the Film Academy approved Riseborough’s nomination but later made significant changes to its campaign rules.

In a recent visit to a Beverly Hills hotel, Deadwyler, dressed vibrantly in black attire, showed no signs of lingering resentment or déjà vu feelings about the uproar surrounding “The Piano Lesson.” Instead, she was full of energy and humor during a photo session, effortlessly changing poses as Chappell Roan’s music filled the room. Her contagious laughter, resonating through the hotel hallways, suggested that her recent roles may have limited chances for lighter characters.

The Atlanta-based actress replied, “I’m managing just as well as anyone could under the circumstances,” when questioned about the excitement surrounding her character and the movie. However, her smile quickly faded into a more thoughtful countenance.

I’ve got a laid-back attitude towards it all. For me, what truly matters are people, their experiences, and the culture we create together. It’s all about collaboration, about our shared connections, and the happiness that comes from creating something meaningful as a group. Individual accolades don’t hold much appeal for me; they shouldn’t inflate one’s ego or mental state. I feel content and at peace with this perspective. The constant focus on awards can sometimes be excessive.

Regarding the controversy about her exclusion from the Oscar nominations, Deadwyler highlighted a similar situation – the Academy had also overlooked “The Woman King,” another film that was in the running for awards, with its leading actress Viola Davis and director Gina Prince-Bythewood.

In my perspective, controversy often swirls around Blackness. That particular year saw a troubling exclusion of Black women from our midst. The raw essence of being Black is deeply embedded in how people interpret our presence or absence in discussions about recognition. Moreover, the recognition granted to some individuals does not extend to us, even though we should be part of those conversations. It’s crucial that we challenge ourselves and strive for a space where equity can thrive.

It’s yet uncertain if “The Piano Lesson” will earn such recognition, but for Deadwyler, the movie serves as a meaningful chance to connect with Wilson’s literary work.

She mentioned that she grew up appreciating August’s work. Since her middle school days, she has attended his plays. As she transitioned into young adulthood, she had the opportunity to witness readings and productions of these plays in Atlanta, where she resided. August frequently visited this area, working diligently on his extensive body of work, known as the “Century Cycle.” For an actor, particularly a Black actor, it is a coveted experience to participate in the performance of such works. She also watched ‘The Piano Lesson’ on Broadway.

2022’s Broadway show starred John David Washington, Jackson, Ray Fisher, and Michael Potts, who will all be repeating their performances in the movie adaptation.

Upon learning that she would take on the role of Berniece in the revival, played by Danielle Brooks, her immediate response was: “Wow, awesome!” She later shared this with a hearty chuckle, explaining that Malcolm was the first person she confided in. Over a Zoom call, they discovered their shared artistic spirit as he referred to himself as her ‘artistic twin’.

As a movie critic, I found myself utterly captivated by August Wilson’s “The Piano Lesson,” which showcases the remarkable talent of Dominique Fishback once more. Her performance as Doris Turner in “Till” was followed by her gripping portrayal of Lemon Cassidy in 2019’s “The Devil to Pay.” This drama, nestled within the Appalachian Mountains, tells the story of a mother, Lemon, who valiantly shields her young son from the chaos of a long-standing blood feud between rival families. Remarkably, Fishback not only starred in this low-budget production but also produced it alongside her real-life son, Ezra Haslam.

Deadwyler, being a mother herself, expressed that the arrangement appears to be a deliberate, creative choice. “This portrayal,” she said, “offers an opportunity to explore what it means to be a mother. These roles, seemingly by chance or destiny, provide us with a platform to grapple with this topic in a commercial setting.

Performing as Berniece presented the challenge of being the sole female in a largely male cast, many of whom had previously worked together on Broadway for several months. However, Deadwyler never felt like a stranger; she expressed that she was “the most cherished, supported, and valued.” She also acknowledged the significance of her role in upholding the dynamics of Wilson’s play.

Deadwyler explained that he was well aware of what he was getting himself into, as this role is one that many people cherish and admire. In fact, during the National August Wilson Monologue Competition for high school students, they perform Berniece’s monologue. Given the rich theatrical and artistic history associated with this character, Deadwyler is entering the project exceptionally well-prepared.

In detailing the scene when Berniece is possessed, Deadwyler paused for a few moments.

She said, ‘It’s like giving in,’ but I interpret it as a vibrant spirit taking over when you are under its influence. In this state, you become a channel for sharing wisdom and knowledge from your ancestors.

Speaking as a film enthusiast, when I watched myself on-screen portraying that scene, it stirred profound emotions within me. It wasn’t simply a cinematic experience; it was a reflection of reality for Black people or anyone who carries a deep sense of their ancestry in their daily existence.

Malcolm Washington found Deadwyler captivating during filming as she seemed completely absorbed in her role: “She claimed not to recall the action. She was clearly somewhere else entirely. She surrendered herself to the work and the day’s responsibilities, which were to guide her to that specific place. That’s why we make movies – for moments like these with an actor who transcends themselves.

Deadwyler’s forthcoming ventures are not as intense as “The Piano Lesson.” Instead, they encompass:

Nor is she just limiting herself to acting in film and TV: She plans to continue exploring her work in performance art, dance and more. Talk about being possessed.

As a cinephile, I’m eager to blend the commercial and artistic aspects of my work, just like how a single tree can bear various types of fruit.

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2024-11-07 22:32