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However, Lou knows there’s another problem to consider—Ruben is a recovering addict. He’s been clean for four years, but she knows that trauma often leads to relapse, and knows that Ruben needs focus or he will destroy himself. How many of us have pushed away our demons or even just our character flaws with activity and noise? We so often distract ourselves from our darkness through any means necessary. Imagine becoming an expert at something like drumming only to have it all ripped away, and then imagine not being able to use the standard crutches that you did so often in your life to make yourself feel better. “Sound of Metal” will be classified as a drama about deafness, but addiction is a notable part of this story, and just as accomplished.
Lou rushes Ruben to a facility run by a man named Joe (Paul Raci), who tells the drummer that this is not a place to fix him. It is a place to teach him how to live with deafness, not to correct it. In a sense, it is a different kind of rehab facility. The bulk of “Sound of Metal” takes place here, and again Ahmed achieves so much nuance with Ruben’s journey. He plays him mostly as an observer, watching deaf kids learn in a classroom or listening to Joe’s advice. Joe pulls even more distractions away from Ruben, forcing him to sit and write his thoughts and feelings. In many ways, “Sound of Metal” is a movie about a restless soul forced to find calm and peace.
The other star of “Sound of Metal” for most people will be the sound design. Marder regularly puts us in Ruben’s state, hearing muffled sounds or unintelligible conversations. In fact, it’s interesting to note when Marder traps viewers in Ruben’s auditory condition and when he allows us to escape it (the latter often happens only when Ruben could otherwise “hear” the conversation, such as in a speech-to-text program used by Joe). It’s also notable that Marder doesn’t use a manipulative score, allowing the silence to dominate. It’s a shame that most people will see this on Amazon Prime, as it’s not a film conducive to distractions. Put down the phone for this one. Let the quiet sink in. Or better yet, watch it with headphones. It’s a film designed to envelop you, and not merely play in the background.
As much of a breakthrough as the sound design is here, it really is Riz Ahmed’s movie. It’s no surprise that he learned how to play drums in the six months before shooting and studied deafness. It just speaks to the depth or performance. There’s not a single scene or emotional beat that feels false.
It’s another film that reminded me of Roger’s belief that movies are empathy machines, but I thought about it in a slightly different way here. It’s not just the elements of a story that make a movie an empathy machine, or even the intentions of a filmmaker. For it to really work, a performer needs to have that same empathy for his character. He needs to find a way to balance the unimaginable drama of something like going deaf with relatable humanity. One can see that empathy in every choice Ahmed makes in “Sound of Metal.” It’s inspiring.
In limited theatrical release today and available on Amazon Prime on December 4th.

Brian Tallerico
Brian Tallerico is the Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and Rolling Stone, and the President of the Chicago Film Critics Association.
Sound of Metal (2020)
Rated R for language throughout and brief nude images.
121 minutes
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