In past decades we became accustomed to “Oscars” being won by actors playing characters with various disabilities. On the other hand, instances when prestigious award is won by actors who actually have disabilities in real life are quite rare. One of them happened thanks to Children of a Lesser God, 1986 drama directed by Randa Haines.
Film is based on the celebrated play by Mark Medoff, itself partially inspired by life of deaf actress Phyllis Frelich. Plot begins when unconventional teacher James Leeds (played by William Hurt) arrives to school for deaf children in New England. Leeds employs new and interesting methods to engage deaf pupils and teach them how to speak. He, however, becomes intrigued by Sarah Norman (played by Marlee Matlin), beautiful young deaf woman who works there as a janitor. Leeds is also surprised to learn that Sarah, despite being brightest and most promising student of the school, refused to learn lip reading or speak, preferring to maintain her communication with outside world strictly with sign language. Leeds is determined to change her mind and begins to pursue, inadvertently but inevitably falling in love with her. Two of them become couple, but difference in their mindset based on languages they use threaten to destroy their relationship.
Children of a Lesser God is one of those rare Hollywood films that both employ and transcend cliches. On one hand, the nominal protagonist is stereotypical “hip” teacher that challenges establishment (embodied in character of conservative school principal played by Philip Bosco) and desperately tries to reach “unreachable” youths and improve their lives. Another cliché is extensive use of pop music in the film, which is nevertheless skilfully implemented into the film about people who can’t hear it nor are supposed to enjoy it. Finally, there is basic romantic plot in which lovers get together and go their separate ways only to reconcile in predictable happy end; yet, in this film all that happens slowly and naturally. Another interesting concept of the plot is idea that deafness represents part of identity for deaf people and something they aren’t willing to lose even by accepting language of what Sarah calls “hearing people”. This view is presented in the script without any judgement and film refuses to take the side in the debate between two lovers, which ultimately remains unresolved.
Even with this unconventional story and characters, Children of a Lesser God was in danger of becoming too syrupy and looking indistinguishable from preachy and forgettable television films. This didn’t happen mostly due to an incredible work of two main actors who almost single-handedly managed to elevate this film. William Hurt, then at his prime, delivered another impressive performance which was in many ways more challenging than usual. Hurt for the most part had to use hands and convey his lines in sign language; at the same time, he also repeated his and Sarah’s dialogue loud, mainly for the sake of the audience which was unlikely to understand sign language. That was often referenced as the main flaw of the film, which deprived it of realism. Hurt was, however, not responsible for it and his work here must be commended. It is, however, less impressive than brilliant performance of Marlee Matlin, an actress who is, just as character she played, deaf in real life. She almost never uses speech in entire film and conveys all her emotions through powerful gestures and facial expression. In doing so, she creates impressive character who is not only beautiful, but also able to evoke audience’s sympathy on the account of intelligence and inner strength. Matlin was also helped by having great chemistry with Hurt, with whom she started romantic relationship in real life. She won Oscar for Best Actress and, at the age of 21, became the youngest person to get that precious award. Anyone who watches this film is likely to agree that this award was deserved but Matlin, just like so many Oscar winners, failed to reach such heights in the rest of her acting career. Although some viewers might complain of somewhat slow pace and occasional predictability of content, Children of a Lesser God deserves recommendation as one of the finer pieces of 1980s cinema.
RATING: 7/10 (++)
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