Sound of Hope: The Story of Possum Trot
A dedicated approbation to the work of a local religious community trying to provide families for an epidemic of orphaned children, Sound of Hope is one of those elegies that means well and tries hard even if that means ignoring the rougher and less appealing portions of their story. MacLuhan is turned on his head for these kinds of films: the message is the medium, not the other way around. It is the only thing that matters and all of life (never mind entertainment channels) will be bent to make it land as intended. It’s no accident this type of filmmaking, once so stringently identified with social programs and concerns -- the core of Stanley Kramer’s filmography - are now more theological even when social issues are the focus. No one has understood the primacy of the message like organized religion, it’s only natural these two forces would come together, especially as mainstream Hollywood’s message focus has turned towards self-actualization.
None of which should tinge Sound of Hope’s core. Reverend WC (Grosse) and Donna Martin (Nika King) have, after some struggle, found their community and their place in it ministering the rural community of Possum Trot, Texas. Recognizing the difficulties the community faces through a surge of orphaned youth, the couple opens their home and church to multiple foster children despite the concerns of the local government and its warnings against the unexpected difficulty of what the Martin’s are attempting. Considering the general failure of said government to deal with the problem, and the children falling through the cracks as a result, the Martin’s go ahead with their experiment even as the run into the difficult childhood behaviors they were warned against. More importantly their efforts, though worthwhile, are only enough to scratch the surface of the community youth problems and quickly enlist the entire community of Possum Trot to make certain no child goes without.
Like a lot of these kinds of films, Sound of Hope tries to balance itself between the reality of what the community is attempting (and even succeeding at) and the reality of the struggle it is trying to document. The attempt is in the name, it is a film after hope, which writer-director Weigel has reasoned means not drowning itself in misery even if there is victory at the end. The struggles of the Martins and the other families dealing with sudden children is reduced to some arguments, some tantrums, some veiled discussions … the bigger problems of drug abuse, sexual abuse and violence are pushed the edges. Its as if to dwell on how dark these stories could be would somehow diminish the message of love and acceptance at the film’s core and nothing must threaten that. All is available to be sacrificed towards that goal.
That can include artistry as well … reducing the options for the performers to play off of and even the look of the film. Sound of Hope mostly avoids that with a clean look that avoids the overt softness of Hallmark and heartfelt performances from Grosse and King. Some of that is the side effect of what is (or really, what is not) given to the child actors; extra weight is required from the adults to carry the drama of the film but Weigel also carries things with a steady hand. Everyone moves effortlessly and unquestionably in one direction and to one end. There may not be many risks, but that does not mean there are no rewards.
It can be cynical to say that level of unquestioning focus on message (and the sanding of edges which can result) ultimately robs a film of its power, but that does disservice to what Sound of Hope achieves. It’s always tempting to judge a film, especially a message film, on what it’s not rather than what it is, envisioning a vague image of some superior drama which misses no chances and expands the medium. That can easily overlook the quality films which are focused on their own core idea and for good reason. Is there untapped potential? Yes, but isn’t that true of all of us? Let’s not let the perfect be the enemy of the good, and Sound of Hope is ultimately to the good.
7 out of 10.
Starring Elizabeth Mitchell, Demetrius Grosse, Nika King, Joshua Weigel and Diaana Babnicova. Directed by Joshua Weigel.