‘The History of Sound’ REVIEW: Plays like a lullaby rather than a folk song
‘The History of Sound’ REVIEW: Plays like a lullaby rather than a folk song
A still from The History of Sound
Josh O’Connor is no longer the rough and scrappy fella we’ve seen him in his most recent projects, but he is once again involved in a passionate romance with another fella, played by the internet's favorite (or nemesis? I really don’t know anymore) Paul Mescal. The anticipation for this project was enthusiastic when it was first announced, and the trailer promises something sensual yet beautiful, with performances that can knock us out. However, even their endearing performances cannot save The History of Sound from being a dull period film.
This Oliver Hermanus-directed film has a promising premise: Lionel (Paul Mescal) meets David (Josh O’Connor) during his stay in the Boston Conservatory, and after World War I, they decide to embark on a song-collecting journey. Romance blossomed immediately between them, and as in other periods of queer romance, their love is tested by time and the customs of their society. However, their relationship ultimately meets a bitter end. Just the very idea of combining folk songs and queer romance is a fascinating one, and the title The History of Sound suggests an intriguing plot that gives honor to music in some way. Despite the interesting synopsis, the film fails to be as riveting and poetic as its premise.
The History of Sound is a very atmospheric film. There is a muted yet moody vibe that it is giving off that it almost feels lifeless if it weren’t for the music it showcases, which are the highlights of the film. It tries to evoke the vibes of God’s Own Country, a queer film starring O’Connor, and Inside Llewyn Davis, a musical film about a depressed folk singer — yet the film fails because it does not know how to capture the very soul that made those films work. Even the romance, which is reminiscent of Brokeback Mountain but with two musicians, is unfortunately underbaked. It is to no fault of either actor for this, for I found some bits of chemistry there, thanks to their respective radiant charm that oozes onscreen. The story and pacing itself rush their romantic arc, so I care less for their story.
It is such a shame that the film ended up this way. I particularly liked Hermanus’ previous film Living, which has a controlled yet vibrant energy that translates Akira Kurosawa’s Ikiru to England’s setting. While I found so much sincerity and soul in his previous film, unfortunately, I cannot feel for The History of Sound as much as Living. There is something heartfelt in this, especially in its ending: I just hoped that the film didn’t need its conclusion to arrive for me to feel something profound out of this.
While the film’s pacing is something to be criticized, I found the performances of the two leads outstanding. While both Mescal and O’Connor might get accolades for other films they starred in this year, Mescal for Chloé Zhao’s Hamnet and O’Connor for Kelly Reichardt’s The Mastermind and Rian Johnson’s Wake Up Dead Man, their performances in this film are something we should laud them for. The bonfire scene proves Mescal’s complexity as an actor, as he managed to go through many emotions effortlessly. Despite O’Connor’s limited appearance in the film, he manages to steal every scene he is in. Like previously stated, their chemistry is there. It is such a pity that it was wasted by a very boring execution.
‘The History of Sound’ was screened at the 12th QCinema Film Festival under the Screen International category.
