(2019) Documentary (Abramorama/HBO) Jonas, Paul, Sally, Colleen, Matthew, Irene. Directed by Irene Taylor Brodsky
As someone who loves movies and music, my senses of sight and hearing are particularly precious to me. As such, I tend to feel a tremendous pity for those who lack one or both of those senses. How can someone without those senses appreciate the grandeur of Laurence of Arabia attacking Aqaba or the soaring Maurice Jarrė score that accompanies it? It seems to me to be an irreplaceable loss – but there are other compensations that perhaps I failed to take into account.
Brodsky is the child of two deaf parents, Paul and Sally, who received cochlear implants while in their sixties. She and her siblings are all hearing, so they were in some ways insiders to the challenges their parents faced without perhaps understanding them fully, as those possessed of a sense can never truly understand what it is to be without it. How does one, after all, describe a world of silence to someone whose world is filled with noise?
She is also the mother of a deaf son, Jonas, who was born hearing but gradually lost his ability to hear when he was four. He was then given cochlear implants and when the documentary was filmed, was 11 years old who most of us would never realize he had any sort of hearing issue.
Music is also important to Jonas and he is taking piano lessons. He tells his piano teacher Colleen that he wants to learn Beethoven’s Moonlight Sonata which his teacher tells him he doesn’t hav the skills for et. Jonas is insistent and at last Colleen relents. After all, Beethoven wrote the piece during a time when his hearing was failing him. Was that a motivating factor in Jonas’ desire to play it, or did he merely like the piece? We never find out for sure; at least, not from Jonas.
This is a very personal film for Brodsky and in many ways that makes it more difficult to review. Not because I believe she’s going to ever read this review, although I like to think she might someday, but it feels too much like I’m reviewing her family life. She is clearly devoted to er children and her parents, and although we see little interaction between the director and her husband Matthew, we see him comforting and encouraging his son and realize that he is a good man. The relationship between Jonas and his grandparents is a special one and the elder couple obviously adore their grandson even when they chide him over being sloppy when using American Sign Language.
As the film progresses, we see that Paul – one of the inventors of TTY technology which allows deaf people to use the telephone – is beginning to show signs of oncoming dementia. He is forgetful and sometimes loses focus on what he’s doing. When Brodsky lovingly but firmly tells him that she can’t allow him to drive her children any longer, it is a truly emotional moment; Paul not understanding why she’s come to this decision, Sally tearfully asking him to stop arguing. Many viewers who have undergone similar discussions with their own parents or grandparents will feel compassion.
In the background looms the ghost of Beethoven, his music providing a soundtrack. Quotes from his letters pop up throughout the film and animations depict him (but curiously always as an outline, never as a fully realized figure) linking him with a solitary bird flying within sight but definitely separate from the flock.
Jonas is, at the end of the day, a fairly typical 11-year-old boy. There are things about him that are admirable, there are other things in which he is less so. He sometimes tries to con Colleen into thinking that he’s doing better with the piece than he actually is but she’s having none of it; she holds him accountable but never in a cruel or vicious way. She simply calls him on his bull when he is espousing some. I don’t know that I would have liked my life immortalized when I was eleven; I would like to hope that I would handle it as well as Jonas does here.
Brodsky has two other children who show up incidentally and always with Jonas; the clear focus is on her eldest son. I wonder what her kids thought about that or how they handled not being the center of mommy’s attention. Still, it takes a certain kind of courage to turn your cameras on your kids when you know that the footage isn’t going to be shown just to family and a few long-suffering friends but to the entire world, or at least that part of it that subscribes to HBO (this film will be available on the premium content channel later this fall).
Like any life, there are ups and downs in the film. We get to see Jonas playing the Sonata at a recital and we get to see the difficulties that the grandparents face as old age robs Paul of memory and cognitive thought. He is just in the beginning stages here but the ordeal to come is one that many children are sadly familiar with and it’s hard not to feel compassion for Paul, Sally and their family. The road ahead won’t be easy for them.
I found that Brodsky dividing her film into movements to be kind of gimmicky and arbitrary; the first movement seems to be about beginnings, the second about the journey and the final about destinations but that’s over-simplifying. I thought the movie would have been better without it. Using Beethoven as a linking device doesn’t always work either.
But let it not be said that there are not moments here of exquisite grace; Jonas takes off the external device of his cochlear implant to practice, rendering him deaf but also removing the distractions of sound. Jonas speaks of how when the implant is off, he can just play for the sheer joy of it. When the implant is in and working, he can hear his every mistake and every one gnaws at him. He has not yet gotten to the point where he understands that imperfections are okay, that mistakes aren’t the end of the world. We all would like to be flawless but none of us achieves it truly (other than my dog Penelope but that’s another story entirely). Our mistakes make us human and our humanity makes us beautiful. It’s the aspiration to be flawless that is wonderful, not the achievement of it.
REASONS TO SEE: This is probably as close as the hearing are ever going to get to understanding what it’s like to be deaf.
REASONS TO AVOID: The division of the film into movements seems arbitrary and gimmicky.
FAMILY VALUES: Suitable for all ages.
TRIVIAL PURSUIT: Brodsky’s previous documentary on her deaf parents, Hear and Now, was nominated for an Oscar.
CRITICAL MASS: As of 9/23/19: Rotten Tomatoes:82% positive reviews: Metacritic: 57/100.
COMPARISON SHOPPING: Sound and Fury
FINAL RATING: 6.5/10
NEXT: The Guernsey Literary and Potato Peel Pie Society