Paul Mescal is better than ever in The History of Sound – but I wanted more

The History of Sound was one of the most eagerly anticipated films out of Cannes in May this year for its depiction of an historic gay love story between characters played by Paul Mescal and Josh O’Connor.

But it has stuttered and started since, after receiving a mixed reception upon its debut and a delayed release strategy which saw it released in the US last month but not until next year for the UK, following its gala premiere at the BFI London Film Festival this weekend.

Director Oliver Hermanus delivers the romance in a poignant, beautifully-shot package – but it’s smaller and slower than expected, even if it contains Mescal’s finest onscreen work to date, alongside his equally exquisite performance in Hamnet.

Mescal plays Kentucky farm boy Lionel, blessed with a gifted voice – and synaesthetic response to music – strong enough to send him to a Boston music conservatory on a scholarship in 1917.

There he meets Josh O’Connor’s David, a genius-level composition student ‘with a thousand songs in his head’, after he plays a folk song from home that Lionel recognises.

It turns out collecting songs is David’s passion, with the meeting between his confident and slightly louche manner and Lionel’s shyness and sincerity a sweet moment.

That it turns sexual between the pair that evening is initially only hinted at, with moments such as them sharing the same glass before David invites Lionel into his bedroom – and it cuts to the next morning.

And so begins a surprisingly happy but casual relationship between the pair, given the period, interrupted only when David is drafted to serve in World War One.

While embraces are later shown, The History of Sound is rather shy and prudish about sex, especially when given the emotionally vulnerable talents of its two lead actors. In some ways, yes, that matches it being a century ago – but it also somehow chafes against the nature of its passionate characters.

The angst and emotion of their connection – and how they figure it out when David later invites Lionel on a folk song collection trip in the forests of Maine – is reminiscent of Brokeback Mountain.

That’s a big compliment to Mescal and O’Connor’s natural chemistry, as well as the beautiful, if ponderous, way director Oliver Hermanus frames and shoots their relationship, even if this romance is not dealing with repression like Heath Ledger and Jake Gyllenhaal’s film was.

But it leaves you wanting more with its sometimes plodding structure and repetitive moments in the wild together.

For a film called The History of Sound, I also didn’t connect with the music as much as I expected. There’s some lovely singing scenes, but far less of an abundance of folk music than anticipated given David’s passion for it. 

Mescal, who has a pleasant voice, is also given the task of living up to Lionel’s much-hyped stunning vocal talent every time he opens his mouth to sing; it feels like the film skirts around it to avoid that issue of exposure where it can.

The History of Sound doesn’t seem as concerned with music and its emotional impact as much as expected either, especially once David and Lionel’s trip together is finished.

Lionel’s blessed career then takes him across the world – never seemingly impeded by his poverty – as he pines after David following their trip, while pursuing the adventures David wanted him to have.

We follow him throughout the 1920s – the film is rigid in noting every date and location in a slightly unnecessary way – until Lionel decides to track down the man who has clearly become the love of his life.

The revelations of The History of Sound’s final act are moving and more engaging than other sections of the often slow-moving film.

It fuels its poignant and reflective nature about the impact of a love still felt many decades later when Chris Cooper appears as an 80-something Lionel in a touching coda.

The History of Sound premiered at Cannes Film Festival before screening at the London Film Festival on October 18 and 19. It was released in the US on September 12 and is set to release in UK cinemas on January 23, 2026.

A version of this article was first published on May 23, 2025.

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