Despite a couple of movies here and there about the people dealing with sound in movies (“Death of the Sound Man”, “The Sound Man Mangesh Desai”) the profession definitely concerns people who can easily be deemed as ‘unsung heroes’. Royston Tan tries to change the fact, in the most delightful way.
“24” is screening at Five Flavours Asian Film Festival
They say that, in order for a movie to captivate its viewers, the first thing a director should do is have an impressive introduction. Tan follows the “dogma” in the most “in your face” fashion, by showing a rather steamy sex scene between two men as the film begins, only for the frame to open a bit later and reveal the silent protagonist of the movie, the sound engineer. The movie continues in the same way, through 24 settings or sets, where the protagonist is recording sound, barely visible in the background, essentially a human chameleon that also reminds of a “can you spot it” game.
The various locations differ significantly, and include a jungle, a terrace, a graveyard, Chinese opera, various performances, people discussing how the expenses for babies have increased, the back of the truck and many others, with the sound engineer tirelessly recording whatever sounds he can get, always standing up, always carrying his equipment on hand. This last aspect is “mocked” in a hilarious way, when in one of the last vignettes, a man on the beach carries a similar instrument, with the semblance and the difference on what they are doing being one of the funniest moments in the movie.
James Choong, the protagonist, who might as well be playing in a silent movie, is mostly standing inexpressive, while a number of things happen around him, even recording an actual fight in the background at some point. The few moments when he actually reacts, however, are also among the highlights of the movie, with the scene in the back of the truck with the workers singing definitely staying in mind for that big smile of his.
Apart from the permeating, dead-pan humor, the movie also thrives due to its visuals, with DP Qi An Juan doing an excellent job in capturing the plethora of different settings, and the way the frames include the protagonist, who is there but barely seen. The same prowess applies to the editing, with each scene staying on screen just long enough for the deadpan humor and the whole style of work of the sound recorder to be presented in all its glory, while at 77 minutes, the movie definitely does not overextend its welcome.
“24” is a truly remarkable film, a masterclass in deadpan humor, cinematography and sound, while also featuring a documentary-level presentation of the work of the sound man. Definitely among the best of the year.
