Guest Review: Sound of My Voice (2012)

A Film Review by Tennessee Jed
Last May, I reviewed Brit Marling’s first feature, a low cost, independent production titled Another Earth in which she both co-starred, and co-wrote. At the time I concluded that while flawed, it generated sufficient interest to recommend, and that Marling exhibited definite potential as both an actress and writer. Her second film shares similarities with that earlier effort, but reveals a stronger storyline. It deals with the paranormal, presents a more unified, clearly defined theme, while providing a somewhat easier concept for viewers to grasp. Marling, who partnered with different writers/directors for each film, is likely the dominant creative force behind both.

It’s the kind of story that in a more condensed format, might just have worked as an episode from The Twilight Zone. When considered in such light, how does one resist? Like any story offering a decent twist not visible from miles away, it’s best enjoyed without knowing the ending so this review’s purpose becomes twofold. Let readers know it’s worth watching, and second, generate enough interest to whet one’s appetite without spoiling the experience by revealing everything that’s coming. A spoiler alert is nonetheless warranted for anyone who might prefer to watch it cold.

** spoiler alert **

The Story begins with a young couple, Peter (Christopher Denham) and Lorna (Nicole Vicius) driving through the San Fernando Valley. Following a set of instructions, they pull into the attached garage of a house, are met and led inside, given gowns, and instructed to shower and change. They are blindfolded, flexcuffed, and driven to a second house where they are met by an older man named Klaus (Richard Wharton) and several others dressed in similar attire. Klaus and Peter share a laughably elaborate “secret hand shake,” an evidently bizarre ritual of a secret society or cult.

The leader, known only as Maggie (Brit Marling), makes an appropriately dramatic entrance with a veil over her head, while she breathes bottled oxygen from a portable unit she wheels along beside her. Maggie explains great changes are coming; civil war and societal breakdown. But, she will guide the chosen few along a path toward survival, and a better more simple life. So what’s the “kicker?” -- Maggie claims she knows all this, not because she’s a visionary, but because she has actually traveled back in time from the year 2054.

Unlike some infamous real-life cults, these potential initiates don’t live segregated from the outside world. While returning to their own home, Peter and Lorna reveal themselves not as true devotees, but want-to-be documentary film-makers intent on proving the cult is a hoax by using a micro camera embedded in Peter’s glasses. Is Maggie the real deal, a time traveling messiah? Is she merely a talented grifter, or perhaps an unstable zealot who poses danger to followers and outsiders alike? Such questions form the central thrust of the film.

Subsequent scenes tend to keep viewers guessing. An assistant takes Lorna to a pistol range to learn to shoot. Does this suggest more of a militia like agenda or merely a means to survive the coming period of civil unrest? Whether con artist or time traveler, Maggie displays enough charisma that neither Peter nor Lorna remain unaffected. Each carries their own emotional baggage. Peter, a substitute teacher at a school for young girls, is forced to confront the loss of his own mother (herself a cult member) in childhood, while Lorna, a daughter of Hollywood celebrities, suffered from substance abuse. As Peter is drawn deeper into Maggie’s orbit, Lorna exhibits signs of jealousy, potentially jeopardizing both their relationship and the project.

Maggie asks to meet one of Peter’s school students, Abigail Pritchett (Avery Pohl). He reluctantly agrees, but refuses to bring her to the house, insisting the meeting take place during a class trip to the La Brea tar pits. Meanwhile, Lorna has been contacted by a woman from the justice department who is tracking Maggie. In what is becoming a Marling trademark, the final scene ends rather suddenly, without explicitly resolving the question of Maggie’s true identity. Viewers are left to ponder that answer for themselves.

Themes - The film deals with issues of what is real, what is appearance, and how people’s lack of emotional fulfillment might cause them to willingly participate in their own manipulation. To that end, Marling has created an extraordinarily difficult role in which she must sell a character who is charismatic, mesmerizing, and reasonably believable in order to make the story work. It’s a tall order, but Marling manages to pull it off rather well.

There are other interesting threads impacting the story. As a teacher, Peter represents a kind of guide as well, and one who also would know something of manipulative behavior. There are hints the young girl Abigail is without a mother, suffering from apparent narcolepsy, and possibly a victim of abuse by her father. Peter admitted earlier, during interrogation by Maggie, to having similar childhood experiences, although he subsequently denied it to Lorna.

Weaknesses - To begin with, the entire notion of a cult is a bit creepy or off-putting to most people. There’s a scene in which members are given apples to eat and compelled to vomit them back up. In another scene, after fasting, everyone is offered earth worms to eat, apparently an allusion to a future when food becomes scarce. Cinematography and production values are rough, at times appearing amateurish. Sets clearly reflect an extremely low budget. The screenplay is dialog driven and a bit slow developing, and one can imagine some giving up after about fifteen minutes claiming it’s either too weird, too slow paced, or both.

Strengths - What makes the film ultimately worthwhile, though, is that Marling has raised some very interesting questions about a rather dark subject, and come up with a “Serling like” twist that leaves viewers alternately wondering about the apparent lack of resolution while still shaking their heads in appreciation at the cleverness of her ending. The cast unifomly does a decent job of realistically portraying their characters, particularly Marling, who continues to impress in a very challenging role.

While far from polished, Sound of My Voice can be intriguing if you get past the sluggish start. When I think of what is mainly coming out of the big studios these days (Expendables 2, Abraham Lincoln, Vampire Hunter, 3-D), I increasingly prefer these more sparse, modest films that are willing to tackle bigger ideas, and often pleasantly surprise. If you choose to see this one, I think you will be ultimately rewarded, perhaps in ways you didn’t expect. It’s a film that should, at minimum, cause you to think about it after the credits roll. I’ve come to my own conclusions, but would love to hear what others might think.