When the prologue for Christopher Nolan’s The Dark Knight Rises dropped in 2011, the complaints came thick and fast. The new villain Bane, played by Tom Hardy, was downright inaudible, muzzled and muffled beyond comprehension. One Warner Bros. source working on the film told the Hollywood Reporter that he was “scared to death” about “the Bane problem”, but the director was adamant that he would not budge on the voice mix. He explained that it was fine for audiences not to hear every line as long as the overall idea was conveyed. In other words: don’t try to understand it, feel it.
Fanboys and critics eventually got their way with The Dark Knight Rises, but Christopher Nolan has enjoyed full autonomy over his soundboard ever since (a $1 billion box-office return will do that for you). Two years later, he responded to complaints about Interstellar’s muddled dialogue by arguing that he often favoured Hans Zimmer’s score over the meat and potatoes of the script. “I don’t agree with the idea that you can only achieve clarity through dialogue. Clarity of story, clarity of emotions — I try to achieve that in a very layered way using all the different things at my disposal — picture and sound,” he told the Hollywood Reporter. “I’ve always loved films that approach sound in an impressionistic way and that is an unusual approach for a mainstream blockbuster, but I feel it’s the right approach for this experiential film.”
He has taken the same approach with Tenet, the time-twisting tale of a CIA agent who… well, I don’t know really. He runs around a lot and wears nice polo shirts under even nicer suits. I think he mentioned nuclear war at some point? I could barely understand a word of it, to be honest. Even when there were no explosions or masks or cod-Russian accents to get in the way, I felt like I’d been dunked underwater every time a character spoke. In my mind, that presents a problem when almost every piece of dialogue is exposition for a complicated plot that isn’t too invested in making sense to begin with. I walked into Tenet expecting to be confused, but not frustrated.
My colleague had no such trouble, clearly understanding everything from what the closed cities were to the details of Tenet’s ending. So was it just me? A quick search on Twitter and Reddit revealed that it was not.
Tenet is relentlessly impressive, intensely spectacular and a dazzling mind fuck. However…the sound mix is so overwhelmingly maximised that it’s sometimes difficult to properly hear the dialogue, making an already complex plot unnecessarily more difficult to grasp. pic.twitter.com/NDZ4QGFMCz
— jimi fletcher (@mrjimifletcher) August 26, 2020
Does Christopher Nolan need to see an ear doctor? Serious question… hearing MULTIPLE a complaints about #Tenet regarding the sound mix, saying some scenes are impossible to hear the dialogue. I don’t understand why this is a constant choice of his?
— Andy Signore (@andysignore) August 26, 2020
Huge Christopher Nolan fan but the sound mixing was off for me. Not being able to clearly hear what the actors are saying isn’t ideal in a Nolan movie! #tenet
— Rishi Nair (@RishiNair21) August 26, 2020
People are saying to watch Tenet dubbed in a different language so you can read the subtitles because apparently the sound mixing is incredibly bad ahahaha
— WreckinRod (@WreckinRod) August 27, 2020
During an Ask Me Anything session last year, Christopher Nolan’s long-time sound editor, Richard King, took to Reddit to explain the reasoning behind the director’s controversial approach. “Chris is trying to create a visceral emotional experience for the audience, beyond merely an intellectual one. Like punk rock music, it’s a full-body experience, and dialogue is only one facet of the sonic palette,” he explained. “He wants to grab the audience by the lapels and pull them toward the screen, and not allow the watching of his films to be a passive experience. If you can, my advice would be to let go of any preconceptions of what is appropriate and right and experience the film as it is, because a lot of hard intentional thought and work has gone into the mix.”
That ambitious sound philosophy was undoubtedly best realised in Dunkirk. The dialogue in Nolan’s second world war epic was difficult to understand too, but that hardly seemed to matter. In fact, it only added to the overwhelming confusion and carnage of it all. The team behind the film utilised disorientating Shepard tones to create a swelling sense of anxiety, dread and nausea. Meanwhile the sound of Nolan’s ticking stopwatch, embedded in Hans Zimmer’s booming score, is perhaps the director’s most artful exploration of time – how it can be manipulated, and how it can warp our perspective of the present.
But Tenet is not Dunkirk. Tenet is a film about time corridors and “inverted entropy” and artefacts and algorithms and a lot of other stuff that requires at least a modicum of context. Maybe I’ll just have to go watch it again. Maybe that was the plan all along.
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