The Sounding

 An adventurous psychological drama on the subjectivity of language, actor-turned-director Catherine Eaton’s “The Sounding” impresses more with its majestic and ageless feel than its vague ideas round the human mind. 

While Eaton’s story (co-written by her and Bryan Delaney) is about on the rocky coasts of up to date Maine—more accurately, a close-by storybook island called Monhegan—the location almost feels out of a deeply romantic period film, like “Portrait of a woman ablaze ,” with a fearless female lead navigating its wild and windy shores. Played by Eaton during a muscular and intensely emotive performance, she is that the striking, blue-eyed Liv; a lady who’s lived on this island her entire life, completely wordless. Raised by her scientist grandfather Lionel (Harris Yulin), Liv leads a cheerful lifetime of silence and idealistic essence on her own chosen terms. But the truth she’s known so far crumbles at some point thanks to Lionel’s flailing health and therefore the way forward for unknowns his death brings along.

The troubles start when Lionel involves a fellow scientist, his former student’s brainy son Michael (Teddy Sears) onto the island, just to make sure that the brilliant and idiosyncratic Liv has someone to believe once he’s gone and doesn’t become a pawn for research project . It’s during this point when the girl starts speaking little by little, though entirely through the texts of Shakespeare. And when the eventually grief-stricken Liv puts her own life in danger on the treacherous island, Michael unsympathetically spearheads her enter a psychiatric center in Portland, despite the desperate protests of Liv also as her friends, neighbors and Lionel’s trusted lawyer Roland (Frankie Faison). 

In weaving Shakespeare into Liv’s world, Eaton proves to be a savvy and confidently crafty writer in command of The Bard’s words. When ruthlessly interrogated about her silence, “Why should calamity be filled with words,” Liv responds, quoting Richard III . When her tormentors insist that she communicate in normal, socially acceptable terms and use her own mind’s words, “Remorseless, treacherous, lecherous, kindless villain,” she shouts back, a nod to Hamlet. In short, those that share Eaton’s remarkable authority on Shakespeare will have their work cut out for them in matching Liv’s lines of dialogue with the right work they’re pulled from. Yet even the foremost scholarly Shakespeare devotee might hit their mileage with the movie’s increasingly wearisome routine. 

The filmmaker hints at a sturdy character defined by her distinctions and divergences, perhaps a touch like Jane Campion’s elegiac and rebellious Ada from “The Piano,” and therefore the eponymous Nell from Michael Apted’s 1994 film a few wild loner with a one-of-a-kind language. But she doesn’t quite grapple with the character’s mental disease within the most sensitive or responsible terms; Eaton also refuses to deepen the explanations behind Liv’s chosen method to speak with the planet at an equivalent speed that she advances the mystery of her condition. therein regard, “The Sounding” struggles to work out what to form of Liv’s riotous episodes at the Portland institution, beyond using these scenes as performative opportunities to critique one-dimensional Nurse Ratched types, and display a gifted actor’s diverse dramatic talents. Once they register as mystical peculiarities or plain stubbornness, Liv’s complexities fizzle in due course.

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Still, Eaton achieves a handsomely made film, shot with cool grandeur by cinematographer David Kruta, elevated by the strong on-screen chemistry between Sears and Eaton. And when the director doesn’t enjoys stylistic excess, sort of a puzzling, music video-like sequence cringingly amid an on-the-nose needle drop (namely, Daughter’s “Youth”), her tale proves to be a curious beast you can’t entirely disregard even when it begs for more philosophical substance to face on.