Apple TV film draws us into family’s original world
- Brett Hiner: A Work in Progress
- August 23, 2021
- 808
Sometimes, watching a film with no real knowledge about the plot deepens one’s pleasure of viewing it. I recall this happening previously with Tom McCarthy’s “The Station Agent,” the wonderful film starring Patricia Clarkson and Peter Dinklage.
Seeking a life of solitude, Dinklage’s character moves into an abandoned train depot, only to be befriended by a chatty hot dog vendor and a woman dealing with personal loss. It is as rich of a character study as there is in film and also is the type of viewing that lends to a constant smile without realizing you have been doing so the whole time.
This reaction recently occurred with Apple TV’s just released “CODA,” a wonderful film following the life of Ruby Rossi (Emilia Jones), whose love for music and singing is put in jeopardy when her family’s fishing business is threatened with closure. The issue? As the only hearing person in her family, she has the daunting task of providing sign translation for everything her family does … everything.
This central conflict provides both the funniest and most heart-wrenching moments in the film.
Funny? A scene where Ruby has to head with her parents to their doctor, where they are both essentially diagnosed with jock itch and are told they have to stop the romance for a bit. Imagine being the daughter/translator for that appointment.
Heart wrenching? When Ruby’s mother, masterfully played by Oscar winner Marlee Matlin, pleads with her to help translate a local TV interview that will benefit the family’s struggling business. Scheduled at the same time is a choir rehearsal, and Ruby knows, after repeated warnings from her choir teacher, that if she misses another rehearsal, his work with her is over and so also may be her dreams of getting into the Berklee College of Music. It is that rare effective film dichotomy and credit needs to be given to writer/director Sian Heder, who creates a situation where both characters are overwhelmingly right and painfully wrong at the same time.
The heart of “CODA,” an acronym for child of deaf adults, revolves around this family dynamic, and there is not a false moment between them in the film.
It spoils nothing to tell you that Jones’ Ruby is often at odds with her older brother, played brilliantly by Daniel Durant — but not at odds because he is jealous she can hear, rather because he wants his parents to heap more of the family business workload on himself because he is deaf. It is an interesting character about-face: What if being able to hear is the disadvantage?
But when it comes to singing, Ruby has the advantage, especially amongst her classmates. She lives in a house with three deaf adults, after all, so she can sing and shout as loud as she wants while at home. It is her singing that is the hook that pulls the audience into this emotional tale of two worlds; never is this more apparent than when Matlin, out of concern for her daughter, asks the simplest of questions to her husband, “What if she is no good?” Mom and Dad are not able to judge her performance for themselves but must instead rely on the physical cues of watching an audience at Ruby’s first choir concert.
“CODA,” however, does not avoid all the clichés. There are a few formulaic moments, mostly between Ruby and her boyfriend over a typical teenage misunderstanding — moments that have become all too routine when attempting to show teenage romance and conflict on film.
And the overzealous vocal teacher gets away with saying/doing things that would likely warrant a trip to the principal’s office — for the teacher, not the student. Audiences will likely forgive this because you cannot help but fall in love with Eugenio Derbez’s enthusiastic Bernardo Villalobos, a teacher who will let his students call him by his first name but only if they can twirl the “r.” That is my kind of guy.
These critiques, however, are minimal compared to being pulled into the original world of the Rossi family. Even if you can see many plot points coming from around the corner, you cannot help but get swept up in the unique and complicated but deeply loving family dynamic.
Again, Jones shines as the film’s protagonist, and I do not doubt she will soon become a household name. Credit also must be given to Matlin, who campaigned to get deaf performers in the title roles including Troy Kotsur’s Oscar-worthy performance portrayal of Frank Rossi, Ruby’s dad. I did not doubt for one second Kotsur was a Gloucester fisherman, and with a beard shielding most of his face, he emits such emotion and expression you almost want to shout his words for him. If he is not nominated for a Best Actor Oscar come February, there should be worthy protests amongst film-goers.
While “CODA” earns its PG-13 rating, like “The Station Agent,” the film relies on sentiment not cynicism, mostly because of Jones. Her Ruby is a girl looking for her voice, trapped in a world that is struggling to hear it. After spending some time watching “CODA,” you will be glad you were there to listen.