4K UHD Review: Darius Marder’s Sound of Metal on the Criterion Collection

Criterion’s top-notch presentation offers yet another argument for the value of physical media.

Sound of Metal“Fucked!” That’s how Michael Gira described how his hearing is after a live show in a 2015 interview with the Guardian. Admitting to not even taking the simple precaution of wearing ear plugs while playing in one of the world’s loudest bands, the Swans frontman went on to say, “It’s a fix. It must unleash endorphins, because being inside the sound is to me the ultimate. When it’s working and we’re all psychically connected and the music’s taking us over, I can’t imagine anything more exquisite.”

At the start of Darius Marder’s Sound of Metal, Ruben (Riz Ahmed), the drummer for a Swans-esque noise rock band, Blackgammon, is shown in such a state of euphoria, furiously pounding away at his drums and enraptured by the wall of sound filled out by distorted guitars and the screaming vocals of his girlfriend and bandmate, Lou (Olivia Cooke). It’s the sound of agony and ecstasy intertwined—a form of sonic transcendence that is, for Ruben, every bit as alluring as the heroin addiction that he kicked some four years earlier.

The aural assault of the band’s live shows stands in sharp contrast to Ruben and Lou’s personal life, which consists of quiet evenings dancing to soul music in their RV and waking up to health shakes and yoga. But it’s seemingly only during their performances that Ruben feels both truly alive and at peace with himself, getting his fix of the rhythmic noise that’s become his new drug of choice. So when the slight ringing in Ruben’s ears the night before turns into a dull roar, leaving all surrounding noises muffled beyond recognition, it’s not merely his professional livelihood that’s at stake, but his mental and spiritual well-being as well.

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This newfound state of near-deafness thrusts Ruben suddenly into a transitional phase, and Sound of Metal is in lockstep with him, using intricate sound design to approximate his nightmare state and amplify the confusion, anger, and disorientation that grips him. Ruben’s life on the road, and thus his existence “inside the sound,” becomes a thing of the past when, at Lou’s request, he agrees to stay at a remote community for the deaf that specializes in helping recovering addicts. And it’s there that Ruben is again forced to confront his addictive tendencies. Only now he’s no longer chasing the dragon, but the chance to regain his hearing, whether through his impulsive desire to lose what remains of it by immediately returning to the stage or by holding out hope for a costly cochlear implant that, despite what he thinks, isn’t quite the guaranteed quick fix that he believes it to be.

As Ruben begins confronting his current predicament, Sound of Metal risks becoming a familiar, inspirational tale of overcoming one’s disability. But the filmmakers fill out the familiar framework of Ruben’s dilemma with an acutely detailed portrait of a deaf community headed by the serene and compassionate Joe (Paul Raci), a former addict who lost his hearing during Vietnam and firmly believes that deafness isn’t a handicap.

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As the film traces Ruben’s integration into this community, and his increasing understanding of sign language, it becomes even more highly attuned to Ruben’s emotional and sensorial experiences, both in terms of his newfound physical impairment and his struggle to accept the uncertain future ahead of him. It’s a tumultuous time for Ruben, and Ahmed enlivens the character with a restless, bristling energy that constantly clashes with the sense of stillness and inner peace that Joe tries to instill in him every day. And this underlying tension between Joe’s calm and patient acceptance of reality, and all its complications, and Ruben’s undying need to return to “being inside the sound” colors the rest of the film.

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Later on, Joe tells Ruben that “those moments of stillness, that place, that’s the kingdom of God. And that place will never abandon you.” Ruben’s professed atheism deflates the religious aspect of Joe’s statement, but as the final act takes an unexpected turn and the perpetual push-pull between stillness and chaos, silence and sound that grips Ruben at every turn are pushed to their breaking point, his advice takes on a newfound eloquence. For Ruben, the song may be over, but the feedback lingers on. Sound of Metal sees the value of stillness, particularly for addicts, but it also captures, with urgency and tenderness, just how enticing the residue of the past can be. In a way, it can be an addictive drug all its own.

Image/Sound

Criterion’s transfer from a 4K digital master boasts remarkable detail and high dynamic range that displays a wide range of colors. The opening concert scene shows how deep the blacks are and just how much detail is presented even without much lighting. The real reason to pick this up on disc is the 5.1 surround audio, which has great separation of sounds on various tracks and is the best way to fully appreciate the film’s complex sound design.

Extras

A new featurette on the film’s sound design gets into the nuts and bolts of how director Darius Marder and sound editor Nicolas Becker conceived of and created the film’s unique soundscape. Most interestingly, Marder talks about the importance of highlighting individual sounds rather than overwhelming the audience with cacophony, and the two show how much care went into trying to capture the experience of being deaf through this aspect of the post-production. There’s also a conversation between Marder and fellow filmmaker Derek Cianfrance, in which the two friends delve into the genesis of Sound of Metal and go on to discuss their interest in blurring the lines between documentary and fiction and how that helped shape the final screenplay. The disc also comes with an Amazon-produced featurette that doesn’t add much to what’s discussed in the other extras, a music video for the song “Green,” some outtakes and a theatrical trailer. The included fold-out booklet includes an essay by critic Roxana Hadadi, who beautifully ties together the film’s approaches to deafness, addiction, and masculinity.

Overall

With a sharp new transfer and rich 5.1 surround sound, Criterion’s top-notch A/V presentation of Sound of Metal offers yet another argument for the value of physical media.

Score: 
 Cast: Riz Ahmed, Olivia Cooke, Paul Raci, Mathieu Amalric, Lauren Ridloff, Chris Perfetti, William Xifaras, Hillary Baack, Michael Tow, Tom Kemp, Rena Maliszewski  Director: Darius Marder  Screenwriter: Darius Marder, Abraham Marder  Distributor: The Criterion Collection  Running Time: 121 min  Rating: R  Year: 2019  Release Date: September 27, 2022  Buy: Video

Derek Smith

Derek Smith's writing has appeared in Tiny Mix Tapes, Apollo Guide, and Cinematic Reflections.

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