“CODA,” an Oscar nominee for Best Picture, is meant, all too conspicuously, as a feel-good movie. It “had the opposite effect on me,” tnyfrontrow writes.
It’s meant, all too conspicuously, as a feel-good movie. But “CODA,” an Oscar nominee for Best Picture that’s playing for free in select theatres this weekend , had the opposite effect on me. The movie, written and directed by Sian Heder, is based on the 2014 French film “The Bélier Family”; it’s the story of the Rossis, a third-generation fishing family in Gloucester, Massachusetts.
It’s an achievement of sorts—a display of craft that’s also a kind of craftiness—to establish a level of predictability that both guarantees a payoff and maintains a low simmer of suspense. The drama depends on sustaining a viewer’s rooting interest while keeping it unthreatened with the actual possibility of loss.
The convenient lineup of plot details extends beyond the foregrounded action into its psychological loam and its real-world implications. Can’t afford college? There are scholarships. Ruby is bullied? Suck it up, use it, and move on. The wholesaler is taking advantage of the Rossis? They start their own co-op. The other fishermen either ignore or mock Frank and Leo for their deafness? See what happens when the Rossis make them some money.
The tale of work rewarded is also one of virtue rewarded, and its protagonists are defined by nothing but their virtues, of overtly calculated and oddly old-fashioned sorts. Frank and Jackie have an openly randy marriage , and the family gleefully talks dirty in A.S.L.; whereas Ruby, disdaining the sexual freedom of her best friend, Gertie , all but proclaims her chastity. The discussions never go beyond the immediate practicalities of the family’s business .
On the other hand, the movie itself displays an authentic and significant merit, which is to offer large and dramatically vigorous roles to three deaf actors of extraordinary talent, and their performances give the movie a semblance of vitality and of presence that leaps beyond the confines of the script. What their performances reveal is the poverty of the commercial cinema at large in the casting of deaf actors, of actors with disabilities.
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