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Sound of Noise2010 | 97 min | R | 2.39:1
If you ever come across anyone squawking about the lack of originality in today’s cinema landscape, immediately sit them down with the Swedish musical comedy, “Sound of Noise.” Although it sweats to fill up 90 minutes of screentime, the picture is an immensely charming and startling effort that manages to contort the art of musical performance into a terrorist agenda. Clever and highlighting a hypnotic arrangement of rhythmic assaults, the feature keeps viewers on their toes, wondering just where directors Ola Simonsson and Johannes Stjarne Nilsson are going to take this wild adventure into instrumental invention and aural opposition next. 
Born tone-deaf with a virtuoso violinist for a younger brother, cop Amadeus (Bengt Nilsson) is perpetually frustrated with the world around him, developing a hatred of music as his sibling reaches fame and fortune. When a case of suspected terrorism is handed to Amadeus, the irritable police officer investigates the wild design of disruption orchestrated by Sanna (Sanna Persson) and her team of percussionists, who’ve planned four acts of musical seizure employing an industrial symphony of found items and body parts. Hoping to create a revolution with their actions, the gang quickly finds themselves being tracked by Amadeus, who comes to realize he cannot hear anything the makeshift band has come into contact with. “Sound of Noise” has the potential to be a very silly movie. With Sanna and her group planning a certain level of anarchy with the assistance of music, not violence, the film becomes a blend of “Stomp” and “Dancer in the Dark.” The comedy emerges from what the team employs as musical instruments, with the opening sonic salvo taking place inside of a hospital, where the belly of a blowhard patient awaiting hemorrhoid surgery is used as a drum, while the beeps and whirs of medical equipment back up the beat. Another incident occurs inside a bank, the noise of money shredding and the slamming of rubber stamps creating a toe-tapping disturbance in front of a pack of extremely confused customers, with Sanna and the squad hoping to shake the complacent up using daily tools of auditory banality. 
The mischief here is sublime, smartly articulated by the directors, who rarely play anything cutesy. In fact, “Sound of Noise” is quite dark at times, especially with Amadeus’s deep psychological fissure, facing a family largely disinterested in the musical disappointment, heaping their attention on his brother. The curve of the film, with Amadeus finding the revelation of deafness to be an absolute comfort, is quite twisted, yet the movie keeps its spirits and speed up, with a darkly comic tone assisting in the digestion of the cop’s blissful sprint toward a total musical blackout (after a childhood of piano failure, metronomes are like knives in his ears). There’s also some warmth in the relationship between Sanna and Amadeus, an infatuation that grows to become salvation in the final act. Sweetly performed by Nilsson and Persson, the pairing helps to humanize a gimmicky feature, creating a sense of need to the personalities that reaches above the police procedure and sonic attack preferences of the script. 
“Sound of Noise” stumbles on a few occasions when manufacturing confrontations to help pad out the feature, attempting to erase its origins as a short film. However, most of the picture is an absolute gas with a flow of creativity that produces enjoyable surprises, including the movie’s use of musical instruments as weaponry. The climax finds a triumphant position of closure to the story, commencing a citywide symphony of lights and noise as the gang embarks on their piece de resistance, reaching far beyond their imaginations. “Sound of Noise” provides plenty of excitement and rumble, executed with a considerable screen flair that manages oddity and a crooked sense of liberation with stunning flexibility. Starring: Bengt Nilsson, Sanna Persson, Magnus Börjeson Directors: Ola Simonsson, Johannes Stjärne Nilsson » See full cast & crew |
 
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