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Very disappointing...

Highly Overrated But Still Good

Fresh and Exciting

The film may be flawed, but its message is not.

This is a film that really needed to be made, giving the "hearing" population a glimpse into not only the physical world of deaf and hard-of-hearing persons, but their emotional world, as well. This is not to imply that all hearing-impaired persons react identically, nor even similarly, to their limitation, but, as we see in the film, the conditions of the person's life, both inner and outer, are significantly altered by the deprivation of this sense.An important aspect of deafness is addressed in Children of a Lesser God: That of the psychological/emotional impact of those who verbally and physically abuse and neglect hearing-impaired persons. We see Sarah (and some current students) locked int their own world, to varying extents, refusing to communicate or even try. Sarah explains her avoidance and hostility at one point, describing childhood scenes when she was mocked and derided by her "hearing" peers.Her courage (and the very fire that breeds her hostility) enables and impels her to communicate (in no uncertain terms). Other, current students of the school are not so brave nor lucky: Some refuse to communicate even by sign language, and we can easily assume that this avoidant behavior is the direct result of not the disability, but the resultant abuse (including condescention) and neglect from family, "friends" and other members of society. Marlee Martin does an incredible job of acting, communicating her thoughts and feelings with just a look. If only the director had given John Leeds the responsiveness to be able to interpret Sarah's messages in her eyes, body language, etc., then the film could have been even better.Instead, Leeds often stands dumbfounded, not particularly intuitive, nor deep, nor complex. It is this deeper level of engagement that is missing from Hurt's acting, and from the script, in-general.When Leeds asks Sarah, "Who are you?", after having known her for quite some time, it is his own failure and shallowness that is illuminated. Sarah makes every effort to reveal as much of herself as she can. I am not certain that William Hurt had the chops for this role. One scene I wish had been done differently: That scene when John and Sarah are at his home, and he lays down to listen to some classical music: His relentless tension, deeply-ingrained rigidity and seriousness prevent him from allowing him to enjoy both Sarah's company, and the music, at the same time.He is completely at a loss of how to communicate anything of the music to her. He should have shown her the sheet music, and somehow illustrated the music, pointing to the notes and rests, revealing the flow (tempo) of it to her as it plays. This man seems frozen in some sort of selfishness and convention (even though he's been to all of the best schools).I commend the acting of the students of the school. If these persons are, in-fact, hearing-impaired, then it took great courage to break past the fears and antipathies that separate the "hearing" persons from those who have a hearing impairment. The direction was done in a manner that the dignity of all was maintained. Even the principal was shown to not be a monster of rigidity, and I appreciate the director's stepping outside of the standard formula in this regard.Children of a Lesser God is an important movie. The movies I consider important, I can count on both hands. If you want to broaden your world, watch it.

Marlee Matlin may have taken home Oscar gold for "Children of a Lesser God" (and she deserved it) but I really do have a newfound respect for William Hurt after watching this. Using Matlin's singing as a comparison, you can tell that he really put in the time to learn sign language for the role. And he has the largely thankless role of interpreting both characters during dialogue scenes. I dunno, I just liked him very much here; he was a great teacher, very sympathetic, and integral in the film's sincerity.And if you can get past that oppressive sore, this is overall a great romantic drama.7/10

Two is more than one. Three is more than two ; etc., ad lib. Such is the mathematics of director Haines' dramaturgical use of clichés in "Children of a Lesser God", an agreeable but insignificant romantic dramedy that pretends to be more grave than it is. Marlee Matlin - looking beautiful and acting convincingly - presents one of the strongest elements here ; others are Canada in autumn and Bach's strings. Yet the director with her screenwriters and cast (especially John Hurt in the lead) seem to be concerned more about (American mainstream) audience than about the deaf. That's why they often confuse realism and sentimentality ; their urge to translate every single sign language "speech", too, results in a disputable compromise with reality. More discerning viewers would likely prefer some tougher, enduring bite, for example the documentary "Land des Schweigens und der Dunkelheit", in which the German director Werner Herzog makes (almost) no compromises at all.

The stage play Children of a Lesser God, performed 1980 at Longacre Theater, New York, became 1986 a movie. Inspired by Roger Ebert ("Making a sound movie about the deaf is a little like making a silent movie about the blind.") I saw the movie without sound. The focus is deafness but the issue can easily be translated for disability in general. The usual approach by normality towards disability is the teaching of 'lip-reading'. The experts goal and task, encouraged by society: as normal as possible. William/James is applauded for his effort by his students and their parents. Excluded is the student Danny's silence and the screaming Sarahs refuse. Both see themselves as different and not an object in need to be rescued and cured, the reason for Williams/James salary. Williams/James and Marlee/Sarahs love-waterfall puts a special urge to the movies reason. It starts with Williams/James curiosity for the case of the deaf and furious cleaning woman Sarah. Soon it changes to his genuine interest and believe whatever he believes is good for her. She is satisfied to sweep the floor and clean the toilet.Changed to their love affair, she moving to his house. Fueled by their stubborn idea to help and fight against this help - leading to the scream (: "Here you go! Hear my words! Hear my voice! Ah, you want more than that? I'm gonna scream!") She runs away , runs to her mother, reconnecting with her. But their castled prison has crackled. In one scene we see her lip-reading in front of the mirror. And James/William: everybody in the room communicates soundless, him the outsider. One of the 'children of a lesser god', in love with a 'child of a better God'. How can this polarity come near. Meet. For a future together. Their first step is James/Williams questioning his experts and Marlee/Sarahs step towards the will for university. How will it be after the open-ending? The Swedish title Beyond All Words hints at a possibility. When everything is said and everything done and nothing left of the protecting 'armor'. Beyond the mirroring of false reality is a empty space of where truth is to be used.