#1151: MARDER, Darius: Sound of Metal (2019)
MARDER, Darius (United States)
Sound of Metal [2019]
Director/Writers
Commentary
None.
Alternate French-dubbed soundtrack
Conversation
Between Marder and filmmaker Cianfrance, who share a story credit on the film.
Sound of Metal [2019]
Spine #1151
Blu-ray
In Sound of Metal, a tale of sound, fury, and self-discovery, Riz Ahmed delivers an intensely committed performance as the volatile Ruben, who has found new purpose as a drummer in a noise-metal duo, playing blistering live shows with his singer girlfriend, Lou (Olivia Cooke). When Ruben suddenly loses much of his hearing, he is launched on a profound odyssey—through denial, anger, grief, and, gradually, acceptance—as he comes to understand what it means to live as a deaf person and to discover deafness as not a disability but a rich culture and community. Through stunningly immersive, Academy Award–winning sound design, director Darius Marder invites us to experience the world as Ruben does, capturing a sonic spectrum in which silence comes in a thousand shades.
120 minutes
Color
5.1 Surround
in English and American Sign Language
2:39:1
Criterion Release 2022
Color
5.1 Surround
in English and American Sign Language
2:39:1
Criterion Release 2022
Story by Darius Marder and Derek Cianfrance.
Screenplay by Darius Marder and Abraham Marder.
Marder was 45 when he wrote and directed Sound of Metal.
Screenplay by Darius Marder and Abraham Marder.
Marder was 45 when he wrote and directed Sound of Metal.
The Film
A very good film, a fine debut, and a richly deserved Academy Award for sound design — perhaps the most exciting aspect of this cinematic tale on the complex deaf community.
Ex-addicts (four years clean) Ruben (Riz Ahmed) and Lou (Olivia Cooke) are rocking out as a duo called the Blackgammons ... not exactly my kind of music, but it’s impressive in an aurally-saturated environment sort of way …
When Ruben goes deaf, he sees cochlear implants as a solution, but needs to raise the money ($20-40K) first. Their addiction sponsor refers them to a rural deaf community run by Joe (an excellent Paul Raci), which Ruben rebels against and then begins to accept — learning ASL and teaching the kids drumming (see HANEKE: Code Unknown [2000] {Spine #780} for a similar scene).
When he discovers Lou is performing in Paris, he sells all his possessions to afford the surgery. At first the implants work well, but gradually the sound begins to deteriorate (again, major props to Nicolas Becker for the sound design … the way he pops in and out of both the hearing environment and the silent or distorted deaf one, is magical). Marder also deserves the highest praise for his cinematic style.
He visits Lou; meets her rich dad (a nice cameo by Mathieu Amalric), who Ruben was thinking might front him the cash to buy his possessions back. Lou coos a soft French song; her days of screaming seem over — and Ruben only hears distortion. They gently part ways.
Ruben is walking the streets of Paris (Antwerp standing in) when some severely distorted church bells become too much for him. He pulls out the implants and returns to a world of complete silence.
**
As an amateur Beethoven scholar I can’t help wondering how the cranky old man would have reacted if he was offered the choice of implants to replace his ear trumpet and conversation books?
I am continually astonished at people who say, “how could he write such music in total deafness?”
They don’t realize that a well-taught musician hears all music in his head, and as you can hear for yourselves, Beethoven’s late music is exquisite, written down from head to paper without any trouble.
The real problem was that there was no deaf community for Beethoven to find solace with, What a drum circle that would have been!
Film Rating (0-60):
The Booklet
Twelve-page wraparound featuring an essay by critic Roxana Hadadi.
56
The ExtrasThe Booklet
Twelve-page wraparound featuring an essay by critic Roxana Hadadi.
“Who are we revealed to be when our expectations for ourselves fall away and we accept the person who remains? When the dreams of our past step aside for the unknowability of our future? Sound of Metal is a portrait of transformation measured by what is lost and what is found, what is given up and what is gained. The apotheotic stillness that Joe describes as the ‘kingdom of God’ is waiting, and the next page of Ruben’s story is yet to be written.”
Commentary
None.
Alternate French-dubbed soundtrack
Conversation
Between Marder and filmmaker Cianfrance, who share a story credit on the film.
Excellent discussion between the guy who originated the story and sort of had to give it up to Marder. It might be a little forced for Marder to delineate the three acts with the three words of the title. But it’s also true that these things shoehorn themselves into being …
Also love how the first and last shots match — Ruben in silence … and that final POV shot where he looks up into a bright and hopeful sky.
Program
About the film’s sound, featuring Marder and sound editor Nicolas Becker.
Program
About the film’s sound, featuring Marder and sound editor Nicolas Becker.
Very informative. The heart of this film is its sound design.
Music video
For Abraham Marder’s song “Green,” featuring outtakes from the film and a new introduction by Darius Marder.
Beautiful.
Featurette
Music video
For Abraham Marder’s song “Green,” featuring outtakes from the film and a new introduction by Darius Marder.
Beautiful.
Featurette
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