Denzel Washigton and his sons collaborate on this adaptation of August Wilson’s sterling post-slavery drama that’s poised for Oscar attention.
, and no matter what shape they take, they persistently haunt the protagonists of this excellent adaptation of August Wilson’sfeature is an agonized drama about the burden of yesteryear and the conflicting ways to embrace and transcend it—one that’s rich in character, conflict, detail, desire, and history.) in a truck—driven by his buddy and right-hand-man Lymon —carrying a bed full of watermelons.
Berniece’s shock, however, is of an unhappy sort, since she has little interest in reconnecting with her sibling. The underlying reason for their estrangement isn’t immediately clear, but those troubles are secondary to their current friction over the family’s piano, which sits in Doaker’s living room and which Boy Willie has come to collect.The musical instrument in question is an heirloom with a tortured past. Decades earlier, the slave-owning Mr.
On July 4, 1911, Boy Willie’s father, along with Doaker and his friend Wining Boy , stole the piano from Sutter, and following the death of her mom, Berniece has had it all to herself. To the single mother, the piano is a link to her heritage, and thus when Willie Boy announces that he wants to sell it in order to facilitate the purchase of the land once owned by the now-dead Sutter—who fell down a well, purportedly at the hands of the “Ghosts of the Yellow Dog”—a battle is born.
A brash, fast-talking go-getter with a habit of steamrolling his way through conversations , Boy Willie doesn’t understand his sister’s obsession with holding onto the piano, especially given that it could net them a pretty penny which—along with his savings and the proceeds of his and Lymon’s watermelon sales—would allow him to fortify his present and, just as crucially, build a future for himself and his descendants.
Whether it’s the fate of Boy Willie and Berniece’s father, who paid with his life for stealing the piano, or the untimely demise of Berniece’s husband Crawley, who died while working with Boy Willie,suggests that there’s peril in both holding onto the instrument and trying to make an entrepreneurial go of things as a Black man in post-Depression America.
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