The Sound of Metal

[Ezee E]

WIKI

[Ezee E]

I don't know much about Riz Ahmed, but now I want to after this solid performance. Same goes for Darius Marder, who comes out strong with his directorial debut.

Lags in the second act for quite a while, but gets its footing again and really hits hard for the ending.

Paul Raci, the head of the facility that houses those without hearing, is especially strong here. His conversations with Riz always stick out, and if it weren't for his strong performance, the final scene wouldn't hit as hard as it did.

[Philip J. Fry]

I remember Ahmed from Nightcrawler and Rogue One. He was good there.

[Ivan Drago]

He's phenomenal in The Night Of.

Losing my hearing is one of my biggest fears, so I'm excited for this. It looks unbelievably powerful.

[dreamdead]

Really, really good, with Ahmed continuing a string of stand-out performances. I thought the NYTimes review that questioned the degree that the film wanted to punish Ruben for wanting to return to his old life was a good observation, questioning the line between adaptation and repair. There's a few instances where the time's expanse of the film is in question, making it difficult to fully chart how much time has elapsed between when Ruben earnestly tries to begin learning sign language and his ease and conversant approach mere scenes later. That said, there's a quiet energy percolating in those scenes, able to undercut potential stereotypes--the cute teacher red herring especially--and the film is pleasantly single-minded in its commitment to explore how sound fully matters to a character like Ruben, who seemingly needs that salvation to mitigate any relapse of drugs.

Not a startling ending given everything else, but great handling by Ahmed, and by the sound editing throughout. I agree that Paul Raci is Ahmed's equal in this film, making simple characters more complex simply through his lived-in handling of the material.

[Pop Trash]

My dad has lost about 50% of his hearing and wears hearing aids, but apparently they work in very odd ways and have a bad signal vs. noise ratio. I've taken sound classes where we studied stuff like this and what happens is that with hearing aids (and apparently the surgery in this movie) something like a truck across the street will sound painfully loud, but someone next to you having a normal speaking voice will sound like they are under water.

Anyway, very good movie. Should obviously win all the sound editing / mixing / sound whatever awards at the Oscars, but knowing them, they will make a doofy mistake and ignore it completely. Everyone is right about Riz Ahmed and Paul Raci. I'd even throw Olivia Cooke in there too; she's mostly in it at the head and the tail of the film but this might be the best performance I've seen from her.

[Idioteque Stalker]

I thought the NYTimes review that questioned the degree that the film wanted to punish Ruben for wanting to return to his old life was a good observation, questioning the line between adaptation and repair.

I think this speaks to a reservation I have with the film. Maybe if I were more closely acquainted with people who are hard of hearing I would have a different perspective (particularly in regards to the adapt vs. repair theme that comes to a head in Raci's final scene), but is it really such damnable sin that he clings to those things (his girlfriend and his music, which quite unfortunately for him go hand in hand) that rescued him from addiction and provided meaning to his life? I keep thinking about how Richard Dreyfuss was in a similar situation in "Whose Life Is It Anyway?," playing a sculptor who loses the ability to use his hands. I suppose all the punishment Ruben endures sets up the poetic irony of the ending, which benefits immensely from the film's incredible sound design but nevertheless comes across to me as a little bit corny.

Anyway, Ahmed deserves all the praise. I watched the intro no less than five times--so fucking metal. It's so good, in fact, I had no questions as to why he was completely unwilling to give it up.

[Grouchy]

I thought this was an intense experience and of course the sound design was excellent. I grew very frustrated with some of the character choices (mainly why he never consulted with the first doctor again, he seemed cool) but these irrational patterns of behavior are actually quite real and believable. I also admit to have a profound dislike for cult leaders and similar figures, so I hated Paul Raci's character from the start. That plot is actually the most interesting part of the film, filled (as dreamdad says) with red herrings for paths a worse movie would have obviously taken.

So, my personal ranking for Oscars (only Best Picture):

1. The Father
2. Mank

3. Promising Young Woman / The Sound of Metal (I liked them about the same)

4. Judas and the Black Messiah
5. The Trial of the Chicago 7
6. Nomadland
7. Minari

[quido8_5]

I think this speaks to a reservation I have with the film. Maybe if I were more closely acquainted with people who are hard of hearing I would have a different perspective (particularly in regards to the adapt vs. repair theme that comes to a head in Raci's final scene), but is it really such damnable sin that he clings to those things (his girlfriend and his music, which quite unfortunately for him go hand in hand) that rescued him from addiction and provided meaning to his life? I keep thinking about how Richard Dreyfuss was in a similar situation in "Whose Life Is It Anyway?," playing a sculptor who loses the ability to use his hands. I suppose all the punishment Ruben endures sets up the poetic irony of the ending, which benefits immensely from the film's incredible sound design but nevertheless comes across to me as a little bit corny.

Anyway, Ahmed deserves all the praise. I watched the intro no less than five times--so fucking metal. It's so good, in fact, I had no questions as to why he was completely unwilling to give it up.

In my interpretation, the film is largely about acceptance. Both Ruben and Lou have to come to a peace about what their life will look like after touring. Because of Rubin's hearing loss, that reality comes to a head much earlier than either would have predicted. The film lays a pretty inelegant plant early on about Lou's wealthy upbringing. Part of what makes the movie great is that it speeds up the timeline between potential and realized futures.

I find the adapt vs. repair theme the hinge upon which the whole film swings. Having cochlear implants isn't unlike breaking sobriety. Trying to manage a disorder implies that there is a sense of control one has about their circumstances. I don't think either is right, but the film does a great job of probing the ambiguity.

[Grouchy]

In my interpretation, the film is largely about acceptance. Both Ruben and Lou have to come to a peace about what their life will look like after touring. Because of Rubin's hearing loss, that reality comes to a head much earlier than either would have predicted. The film lays a pretty inelegant plant early on about Lou's wealthy upbringing. Part of what makes the movie great is that it speeds up the timeline between potential and realized futures.

Eh, I don't think those eventual break up seeds are actually planted on the film. If anything they seem like a really happy couple until tragedy strikes.

You're right about the main theme of the film, though. Deafness gets treated like you're an X-Man.

[quido8_5]

Eh, I don't think those eventual break up seeds are actually planted on the film. If anything they seem like a really happy couple until tragedy strikes.

You're right about the main theme of the film, though. Deafness gets treated like you're an X-Man.

I'm not sure if I'm remembering correctly, but I feel like she alludes to her father's wealth early on, setting up a star crossed lovers/wrong side of the tracks type relationship that is doomed from the start by virtue of their social status.

[Grouchy]

I thought her character was believable. People born into money usually have that "moving on" attitude to problems.

[Pop Trash]

There's a lot of "slumming it" types in the arts world. I know people like her. They generally don't have to work dayjobs to support their art.