(Life Through the Lens - Photo Illustration/MetroCreativeConnection)

“What has been used on one side, is lost on the other side. There’s no going back.”

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Metaphor: a figure of speech in which a word or phrase is applied to an object or action to which it is not literally applicable. AKA: calling a thing something it is not…but kinda is at the same time.

First, there was life. Life was difficult, to say the least. From safety to shelter to supplies, “stayin’ alive” was a full-time gig. If you survived another day, that was a victory! Those who “took time to smell the roses” were quickly devoured by bloodthirsty beasts or abandoned as dead-weight. When the life expectancy for you and your loved ones was a measly 20 years, you didn’t waste the time and effort it took to “ponder” or “envision.” Eat – sleep – fear.

Then came civilization and relative comfort. If primitive persistence was no longer the priority, then presence and purpose found a place. Concrete chores gave way to abstract aims. In ancient Greece was born the “metaphor.”

“That one, nagging thing that is constantly holding you back” became the Achilles’ heel.

“A woman who won’t stay buried under stifling expectations” became a storm.

No longer would concrete words suffice. Reality is not 2 dimensional: width and length can only go so far. It is the depth that moves us, that carries us. It is depth that requires an attempt beyond what is into the realm of complexity and creation. Metaphors awaken us to untapped understanding, illuminating the unknown with invisible connections.

Metaphors continually remind us that we are complicated creatures, and the only way forward, higher, closer, and stronger is to go deeper.

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A piano is a family’s fatal efforts toward freedom, an instrument of recognition to a tumultuous past.

A piano is a blood-bought ticket to financial independence and possibilities, an instrument of rejoicing to a better future.

In 1911, Boy Charles and two of his friends steal a piano from the Sutter family, former slave owner of the Charles family. This was no ordinary piano, though: it was handcrafted and carved by Boy Charles’s grandfather with the likenesses of his stolen wife and child as-well-as other loved ones in the slave community. It played music, sure, but it also held memories and mourning. Over the years, the Sutter family refused to cherish the item for what it meant to the people represented ON it, instead treating it merely as a possession. As an act of reclamation, Boy Charles stole the piano and secured its disappearance, but he died because of his boldness and bravery.

Now it is 1936, and Boy Charles’s two children are surrounding the piano (that now resides in Pittsburgh, PA). Boy Willie (John David Washington) drove all the way from Mississippi to see that piano sold to the highest bidder, thus obtaining his half of the money. His plan is to purchase Old Sutter’s property and fulfill his father’s dying desire: establish something better than what came before. Berniece (Danielle Deadwyler), on the other hand, has kept the piano safe in her home, protecting it from prying eyes and jealous hands; she would rather die herself than see it sold for mere-money, recognizing its unseeable worth.

Then along comes Sutter’s ghost. Is he a premonition of wrong-doing and guilt or is he a symbol of a violent past creeping into the contemporary? Which is more damning: refusal to progress past the past OR denial of present gifts toward an uncertain future?

I love the playwright August Wilson; his power with words makes for wonderful theater and stunning film! Having just read The Piano Lesson this past summer for the first time, I was so excited for the screen adaptation…

…and it is pretty good! It isn’t nearly as sharp as 2016’s Fences, but not many adaptations are. First-time director Malcolm Washington (Denzel’s son) shows passion and precision; I can see great art in his future. For this movie, though, it lacked…something. Let’s call it cohesion. It had a lot of the pieces that a wonderful movie needs, but they come-and-go and often don’t compliment. There are the makings of a director, though! The cinematography by Mike Gioulakis was a stand-out; there was beauty always present.

And here is where I missed Denzel: the acting. It was good but not transformative. John David Washington (Denzel’s son) does his best Denzel impression as Boy Willie, but it feels a bit false. There are good moments, but the complete character build was off. Samuel L. Jackson was OK as Doaker. Danielle Deadwyler was powerful at times as Berniece – those eyes come to life! Ray Fisher was hit-or-miss as Lymon; his affected drawl and hesitation was peculiar. Corey Hawkins was steady as Avery. Michael Potts had winning moments as Wining Boy.

Though it possesses some flaws, I am sure August Wilson would have been proud! The Piano Lesson can be streamed right now on Netflix.

REPORT CARD: The Piano Lesson

Assement: A good movie version to a great play

***

A star can be immortal, the hopes-and-dreams of an individual toward recognition and reward.

A star can be resigned, a passive emblem of an achievement that is all-but discarded and disregarded.

Elisabeth Sparkle (Demi Moore) had a wonderful career in Hollywood, even earning her a coveted star on Hollywood’s Walk of Fame. That’s stone and concrete, folks; that’s not going anywhere! But what happens after the star loses its luster? Sure, the star remains, but the “star” herself is relegated to obscurity.

In an attempt to keep food on the table and a shred of dignity to her once-starred fame, she embarks on a new career: home fitness videos. Hey, at least she is still appearing on screens! Time passes. Then she times out of even that! At the age of 50, she is officially too old. Old won’t sell when young is so enticing and easy.

When a mysterious possibility is presented – to be a younger, more beautiful, more perfect version of oneself – she cannot help the desperation. She is over…but to be wanted again! Anything is worth being wanted again!

Elisabeth injects herself with The Substance…and out pops young and supple Sue (Margaret Qualley)…out of a two-foot slit in her back! Now she and Sue must rotate: 7 days on then 7 days off. It must be cooperative and equal – after all, they are one. But seriously, who wants to be old again? This may be harder than advertised!

Disclaimer: this movie is way out of my comfort zone. I hesitated to view it for a few weeks, but, like the brave little boy I am, I decided to gather my blankies and stuffies and just do it. [pause for drama…throw in a thunderclap or two] And now I am forever changed. Maybe “scarred” is a better word.

When a movie touts “body horror,” watch out! It’ll be gross. Director/writer Coralie Fargeat is making a name for herself in this subgenre. She has a gift for gore, I’ll say that! Her script has power in the metaphor and a delicious delicacy in tone and style. Her directing shows immense smartness and polish, as well. I was incredibly impressed with her work…for the first 90 minutes. Then it got a little too savagely silly. Trust me, the last 30 minutes are just…wow. I believe she lost touch with her finely-tuned metaphor and lands in the realm of “let’s just see what we can get away with.”

The cinematography by Benjamin Kracun is hyper-stylized and, at times, completely breathtaking! The music by Raffertie is wonderfully composed and perfectly placed. The editing by Fargeat, Eltabet, and Feron is motivated and precise. Artistically, the Substance is a work of concept and creativity!

Demi Moore was born (or, rather, time forced her) to be Elisabeth Sparkle; her performance has power, disappointment, rage, and regret. It has it all! Margaret Qualley is, once again, awesome as Sue; she is unafraid, and her art is increasingly inspiring! Dennis Quaid is hilarious as Harvey; I had no idea this guy could be funny!

Although the final product lacked overall perfect-pitch, it still sang a memorable and shocking tune.

REPORT CARD: The Substance

Assessment: Be warned…it is a lot to handle!