The History of Sound

Honestly, this film has been on my watchlist since 2021, and after the whole COVID-19 mess, I was pretty sure I'd never get to see it.

But unfortunately, it ended in major disappointment.

First off, it's important to point out that this is an adaptation of a book/short story which I haven't read.

Back to the film: the portrayal of 1917 is absolutely stunning. From the color palette to the costumes, even the tiniest background details are handled beautifully. I wouldn't be surprised if it gets an Oscar nod in one of those categories.

But not everything runs so smoothly. Nearly half of the film's most powerful scenes feel like carbon copies of Paul Mescal's earlier work-almost shot-for-shot, moments he's already known for in other films and series.

Why they chose to do that, whether it was director Oliver Hermanus or cinematographer Alexander Dynan, I don't know. But I can say for sure it was the wrong call.

Add to that the weak dialogue and a queer storyline that feels underdeveloped, and the film ends up miles away from where it's clearly trying to go.

That said, the music choices and Chris Cooper's presence earn it some points back.

So many reviewers seem to have preconceived notions about this film, most of which are described prior to seeing it.

This film is a masterpiece in disguise, and if you allow yourself to see it without spoiling every detail you're going to love it.

The music, the cinematography, and the plot are so well intertwined that it's worth watching alone as a tribute to the artform. Another viewing for the love and characters.

More than anything though, the direction and production are astounding. How they nailed the setting, the time period, the outfits, everything; I can't imagine the enormous efforts but for those who are fans of movies you'll love the detail work.

Amazing job to all who worked to create this, thank you from a fan.

The History of Sound is well written, acted, directed and filmed attraction between two men who's lives intersected for too brief a period of time. I was surprised that Josh and Paul sang that well. Unrequited love pulls at your hearts and messes with your minds. The scenery in Kentucky, Maine, London and Italy set in the era around WWI and afterwards pleases the eyes.

I'm an old man and over the years have had many gay friends (I worked in the arts). Most of them are not effeminate and most of them have served in the armed forces. The story I've heard repeatedly is that there is a lot of homosexuality in the military, but it is not acknowledged, even among the participants. This movie is sort of like that, too. The two lead characters do become physically involved, but they never really talk about their relationship. It's not the "love that dare not speak its name," but the love that dare not speak at all. That's why this movie is significant.

The story, which takes place in the early years of the 20th Century, concerns a farm boy (Paul Mescal) who also happens to be an instinctive musical prodigy and was gifted with perfect pitch. He can tell what key that roosters crow in. He meets a New England professor his same age (Josh O'Connor) who is impressed when he sings a folk song in a bar. They strike up a friendship and end up taking a trip together doing field work on collecting American folk songs, transcribing and recording them on an early recording machine that utilizes wax cylinders. The sex scenes are very subtle and are not sensationalized. I did not find them offensive. Their relationship is simple and full of mutual respect. When World War breaks out, the New Englander is drafted, but the farm boy is not because of his eyesight. (He wears glasses.) The war causes them to question what's next after it's over. The New Englander encourages the farm boy to go to Europe and sing professionally, which he does very successfully. They carry on a correspondence, but one day the letters stop coming. But life goes on. The farm boy becomes sophisticated and also has a love affair with a rich young British woman and they plan to marry. Revealing more would necessitate spoilers, which I don't to do.

The movie looks gorgeous. The American scenes in particular are reminiscent of the paintings of Andrew Wyeth. Art decoration and cinematography are beautifully detailed. The music is all based on American folk songs wonderfully augmented by evocative music composed by cellist Oliver Coates. All the actors, from even the smallest roles are pitch perfect. In the leads, both O'Connor and Mescal give powerfully understated and realistic performances. This is especially impressive because neither of them is an American. I was unfamiliar with the director, Oliver Hermanus, but I will seek out his other work. The work here is super. This movie is probably not for everybody, but those interested in folk music and American history will find it rewarding. I was tempted to add "gay studies," but I think that would be somewhat misleading. That is, however, the central issue, even though it never takes center stage. I think that's what makes the film so haunting.

Slow moving, beautifully photographed and acted, exquisitely crafted love story. One for the ages. Make no mistake about it, this is a profoundly moving motion picture experience that defies all expectations. The cumulative effect of using unknow actors. An achingly slow pace and a naked score (you will know it when you hear it) assures you will pay attention to the subtleties and nuances of the plot, the anguish of the characters and the final denouement. This is not for modern day action junkies nor attention deficit disorder victims. Huge wordless spaces between fragments of dialogue will alienate modern day adventure junkies who need a jolt every ten seconds. This is an exquisite filme.