The most jarring opening scene from a film this year comes in Steve McQueen’s Blitz. There was a rush of sirens, the loud hiss of water bursting out of a hose to attack a fire, and loud footsteps running on the cobblestone streets of London. It’s almost a sensory overload with the scope of sound coming out of the speakers as soon as the film begins. The overwhelming sound appears several times throughout the film and is a constant reminder that the fates of our characters can turn at any moment.
The sound design is most often felt in these loud moments but the genius of the design, helmed by supervising sound editor James Harrison, extends to every moment. The film primarily follows an 8-year-old boy, George (Elliot Heffernan), trying to find his way back to his mother (Saoirse Ronan), and is shown through his perspective. The team raised the sound levels to show us the chaotic world through George’s perspective, exemplifying how overwhelming the world can be to kids like him. The sound of a bus passing closely by or sirens from afar easily startle George and keys the audience into what’s happening around him.
Blitz has been categorized as a war film but doesn’t necessarily live up to the spectacle you might expect from the genre’s typical offerings. We aren’t placed in a warzone with both sides fighting back and forth but in the middle of London. Most of the characters we meet attempt to go about their daily lives while trying to evade the German bombing campaign known as The Blitz. This distance from the war works in the favor, allowing for strong dramatic moments to be upended by sudden reminders of the war.
Scenes inside the tube, the underground train systems, provide an impressive display of sound work. During bombings, families flock to the underground stations for shelter. Despite workers’ protests, they ultimately make their way in to wait out the danger above ground. The sound team expertly altered the sound in post-production to reflect the echoing effects of every movement in the tube. I won’t spoil anything about the film, but one scene set at one of the stations is absolutely breathtaking. It’s one of the most anxiety-inducing sequences of the year, and a lot of that has to do with the sound work.
Blitz’s award prospects have certainly waned since its festival run and initial release, and it looks more and more likely that the best-case scenario for the film is a few nominations below the line, like Sound, Production Design, and maybe Costumes. There’s a good chance the film remains on the outside looking in on every category, which would be a shame considering the level of craft presented. I am quietly hopeful that broad respect for Steve McQueen shines through on nomination day, but it’s hard to read the tea leaves and see much to be positive about.
With Blitz’s chances looking slim, here’s the current state of the race as I see it. Dune: Part Two is still atop the food chain in many technical categories, with Sound being one of its strongest possibilities to pull out the win. It’s been clear to see the support for musicals and musically-based films such as Emilia Perez, Wicked, and A Complete Unknown, and when movies like this are successful they tend to get nominated here. The latter two films feature a lot of strong work revolving around the vocals, with many of the tracks being recorded live on set instead of in a sound studio. We’ve seen this work with varying results (looking at you, Les Miserables) and both of these films undoubtedly succeed in mixing the live vocals with the rest of the music. As more awards shows release nominations and winners over the coming months, we will hopefully see some other clear contenders vying for that fifth spot, but there isn’t one that comes to mind as a clear favorite as of now. Some films looking to stand apart and get that last nomination include major releases like Alien: Romulus, The Wild Robot, and Deadpool & Wolverine. A film I would be thrilled to see make its way into the conversation is Conclave, utilizing the echoey halls of the Sistine Chapel and the Vatican to perfection. That would be my Christmas wishlist for Best Sound, and I hope Santa is listening.
