Darius Marder
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Similar to how Sound of Metal put its viewers in the audibly diminishing temperament of its lead character…
This time, he blends the hungry drummer of Miles Teller in “Whiplash” (2014) and the bruised loner of Mickey Rourke in “The Wrestler” (2008), searching for meaning amid the detached depression of “Why me?”
Decir que El sonido del metal es la mejor película sobre un baterista desde Whiplash (Demian Chazelle, 2014) no es el mejor halago que se puede arrojar a la muy notable opera prima de Darius Marder (co-escribió el guión de The Place Beyond the Pines para Derek Ciafrance, quien aquí recibe un crédito por la historia).
It is encouraging that less than a year after the last film to tackle deafness using hearing impaired actors (“Sound of Metal,” coincidentally also shot in Massachusetts), that “CODA” takes the same approach and if Paul Raci’s name recognition shot up, the same should happen with Troy Kotsur, whose father-daughter connection with Jones is the film’s best element.
Last year, hearing moviegoers were introduced to some of the intricacies of the deaf world in the gripping “Sound of Metal,” in which Riz Ahmed played a noise-rock musician with hearing loss who is suddenly forced to face his new reality as a deaf person.
Now “CODA” comes in the wake of “Sound of Metal” (2020), where Riz Ahmed plays a rock drummer going deaf, and this spring’s “A Quiet Place Part II,” in which a leading character is deaf and played, superbly, by the young deaf actress Millicent Simmonds.
It is almost as if CODA and Darius Marder’s Sound of Metal were companions, lessons in how to manipulate sound and silence to great cinematic effect.
She also picks the perfect moment to employ a sound-design tactic like “Sound of Metal” (2020) for maximum impact.
The film was shot mostly here, on the North Shore, and has that same somber, gritty texture that “Manchester by the Sea” (2016) registered.
In terms of realism, Sound Of Metal is the best depiction of touring life since Green Room , portraying the movie’s metalheads as laid-back jokesters in threadbare T-shirts whose intensity mostly manifests on stage.