Critics Slam Paul Mescal’s ‘The History Of Sound’ as ‘Brokeback Mountain on Sedatives’

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On Wednesday, the premiere of the new romantic film between Paul Mescal and Josh O’Connor, titled “The History of Sound,” took place at the Cannes Film Festival.

The movie garnered a lot of positive responses at Cannes, even prompting a remarkable nine-minute standing applause – however, it’s the critics who seem to be less certain about it.

According to the title story penned by Ben Shattuck, the movie titled “The History Of Sound” features Paul and Josh playing the roles of lovers named Lionel and David.

They document the tales and melodies of their fellow countrypeople, accompanying them on their voyage through the era overshadowed by World War 1.

However, when initial movie reviews were released on Thursday, critics likened the romantic aspect of the film to ‘Brokeback Mountain, but with tranquilizers,’ expressing their disappointment over the scarcity of passionate or sensual moments.

As a devoted admirer, I can’t help but express my thoughts on this remarkable cinematic piece. Critics have hailed its lead actors for their captivating performances, going so far as to call it one of the most heartfelt and unapologetically romantic LGBTQ films in recent times. Yet, a significant number of viewers seem to disagree, labeling it ‘overly polite’ and ‘monotonous’.

Unmoved by the movie, Owen Gleiberman from Variety commented: ‘The History of Sound,’ could be characterized as a minimalist spinoff of ‘Masterpiece Theatre’ set in the frontier, reminiscent of ‘Brokeback,’ is essentially a drama that largely remains stationary.

This thing may not be inept, but it seems lethargic and lacks emotional depth. It’s like ‘Brokeback Mountain’, if it were drugged.

As a devoted admirer putting pen to paper, I must confess that, surprisingly, this movie about melodies and concord failed to strike the right chords with me. Ironically, its soundtrack, meant to enhance the rhythm, seemed to flatten the overall experience instead.

In this production, both Mescal and O’Connor deliver compelling performances, yet the script and direction seem to be the culprits. They restrict opportunities for delight or a shift in tempo, making it challenging for them to fully shine.

According to Nicholas Barber for BBC, the screenplay by Ben Shattuck, based on his own short story, creates a movie that seems to take more than its 2-hour duration due to its slow tempo and numerous conclusions.

‘The somber melodies of sorrow and loss serve as emotional anchors where other parts fall short. Regrettably, the movie, despite its elegance, lacks the beautiful, unplanned duets between Lionel and David as they stroll through the woods.’ (This sentence aims to convey the same idea in a more natural and easy-to-read manner.)

In Peter Bradshaw’s review for The Guardian, he notes that the accents and deliveries seem more like detailed re-creations instead of authentic performances, and the romantic scenes appear subdued, as if they are meant to be nostalgically recalled rather than passionately lived in the moment.

In my professional opinion, everything around here exudes premium quality, yet somehow, it lacks the spark that truly brings it to life with fervor.

Richard Lawson, speaking for Vanity Fair, concurred with this observation: ‘The tent setting undeniably evokes thoughts of Brokeback Mountain, a similarly understated, beautifully crafted drama featuring gay men in challenging circumstances. However, The History of Sounds simmers even more subtly than that movie, primarily inviting viewers to savor the weighted glances and muted subtext.’

In my perspective, the subtle emotional undertone of the movie frequently appears as a contrived element rather than something authentic to Lionel and David’s situation. This is largely due to Hermanus’ restrained approach towards portraying intimacy, an aspect that leaves very little room for physical displays such as kissing between the two men.

According to Ed Potton from The Times, the final part lacked the profound emotional impact experienced during the initial hour, instead feeling predictably unsatisfying.

However, some reviewers praised the actors’ performances highly and commended the film’s skillful employment of music to express feelings.

Alternatively, other reviewers were full of praise for the performers and admired how the movie utilized music to depict emotions.

According to Pete Hammond for Deadline, “This could be Mescal’s finest film performance yet.” Moreover, it is worth noting that The History of Sound belongs to Mescal and O’Connor, who had already dedicated themselves to the project before either received an Oscar nomination or won an Emmy. Both actors made their commitments prior to the pandemic.

They persisted despite the setbacks, and given their unwavering devotion to Hermanus, whose movie is truly exceptional and leaves an indelible impression, they deserve recognition.

James Mottram from Radio Times commented that ‘The History of Sound’ is a heartfelt, long-lasting love story skillfully directed by Oliver Hermanus, serving as another impressive demonstration of the remarkable abilities of Josh O’Connor and Paul Mescal.

David Rooney from The Hollywood Reporter commented: ‘By delving into the soulful undercurrents of History Of Sound’s music, appreciating its lofty spiritual dimensions that frequently focus on people rather than Divinity, and taking note of Mescal and O’Connor’s emotionally intense performances, this movie leaves a hauntingly beautiful impression.’

‘One of the most openly romantic LGBTQ films in recent times is particularly moving, all thanks to its enchanting music.’

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2025-05-22 05:03