CODA

Ein trivialer Film mit Herz. Ein weiterer Teenager will seine Familie verlassen, die ihn braucht, um etwas zu erreichen, um sein Talent zu nutzen. Und alle klären das. Aber wahrscheinlich zum ersten Mal in einem US-amerikanischen Film mit taubstummen Figuren und der Gebärdensprache. Das Thema und die Schlüsselszenen kopieren zwar das europäische Original Verstehen Sie die Béliers? aus dem Jahr 2014, es werden aber auch viele Ideen hinzugefügt. Der Film hat eine perfekte Regie und tolle Schauspielleistungen. Ein Oscar für den Film des Jahres? Einen Oscar zu bekommen war nicht das Ziel des Films. Er wurde von einer Frau und mit dem bereits erwähnten Herz gedreht; er zeigt mit einer erzählerischen Invention das Leben von Personen mit einem Handicap. Er erfüllt also alle Voraussetzungen. (06.05.2022)

CODA is a fairly faithful remake of the French comedy The Bélier Family. Director and screenwriter Siân Heder further developed the supporting characters in particular and chose deaf actors to play the roles of the deaf, so we can enjoy watching the excellent Troy Kotsur. With his relaxed performance, Kotsur greatly contributes to the authenticity of the scenes from the life of the deaf. Those scenes are in fact more authentic than Ruby’s fantastically easy transformation from a timid outsider into a capable young singer. Without the trio of non-stereotypical deaf characters, CODA would be just another banal flick about growing up and chasing the (American) dream. The central conflict between the family and singing is not enough to carry the film for two hours and it doesn’t create much tension, since we know how everything will turn out in the end. In order to maintain the comfortable atmosphere, the filmmakers don’t put any major obstacles in the way of the likable characters. On the contrary, they make everything as easy as possible for them. At school, Ruby affectionately gazes at a classmate. A few scenes later, she is chosen to sing a duet with him. Though Ruby sang only for herself before joining the choir, it sounds from the start as if she has had voice training. Other potential complications also easily disappear. Is the family being exploited in the fish trade? No worries, they’ll just start their own business from one day to the next. Ruby can't afford to pay for further education? No problem, here’s a scholarship. The pianist doesn't know the song Ruby chose? Someone will surely show up to fill in for her. The main thing is not to stress out about it. The Rossi’s, as bearers of nothing but positive qualities, don’t deserve any major troubles. Other than the fact that they work with their hands and are deaf, we learn practically nothing about them. It’s as if they live in a vacuum devoid of politics, culture and religion. The environment of deaf members of the working class serves only as a superfluous backdrop for one teenager’s inspiring story. However, it’s possible that the stylistic caution and subordination to clichés is an effective way of making the life of a community that is rarely seen in the media digestible for a broader audience. In any case, if CODA works despite its lack of directorial invention and minimal distinctiveness, then it works not as a film about the deaf (who are merely staffage in the hearing-abled protagonist’s mediocre story), but as a dramedy in which everything is calculated to elicit tears or laughter. 65% (31.03.2022)

Es ist alles so nett, ansprechend und unangreifbar. Aber wenn man die spezifischen Realitäten ausblendet, hat es vor allem auch ein total banales und unzählige Male gesehenes Schema, das wohl niemanden in der Zuschauerrolle überraschen kann. (25.12.2021)