PG-13 | 2h 7m | Drama | 2024
The congregation of Bennett Chapel never mentions the “a” word. We can only speculate as to their beliefs, but their actions are profoundly “pro-life,” because they use the other “a” word quite frequently: adoption.
When the film opens, the Martins’ rural East Texas community of Possum Trot is already struggling to get by. This is especially true for the Martins, who have a daughter, Ladonna (Kaysi J. Bradley), and a special needs son, Princeton (Taj Johnson). Despite Ms. Martin’s strong faith and family, her mother’s death sent her spiraling into a deep depression. What pulled her out was the realization that so many children desperately needed help. Her epiphany is confirmed by the very secular Susan Ramsey (Elizabeth Mitchell), a street-smart social worker overseeing local foster care placement.
Even though Ms. Martin’s friend Diann (Jillian Reeves) only attends Ramsey’s initial presentation with Ms. Martin as moral support, Diann is the first in Possum Trot to adopt. Soon thereafter, the Martins take in Tyler (Asher Liam Clay) and Mercedes (Aria Pulliam), two young siblings who survived their drug-addicted mother’s violent murder.
Subsequently, many in the Bennett Chapel congregation are inspired to welcome abused and unwanted foster children into their own homes, too. Feeling a spiritual calling, the Martins offer to take in yet another child; they feel compelled to request the hardest case Ramsey has been unable to place. She is reluctant because she wants to promote Possum Trot as a community model to emulate. Nevertheless, she eventually entrusts the deeply troubled Terri (Diaana Babnicova) into the Martins’ care.
Emotional Stakes
Consequently, “Sound of Hope” entails real emotional stakes and the conflict is almost entirely contained within the Martin family. There is no manufactured villain scheming to undermine their efforts. The realities of hardscrabble life in East Texas do that well enough without any artificial assistance.Naturally, as other families struggle with their foster and adoptive children, they turn to Bishop Martin and the chapel for help. In one scene that might challenge some evangelical viewers, Bishop Martin requests assistance from a colleague at a suburban mega-church, but the pastor (played by Weigel) is more concerned with his capital campaign than supporting the vulnerable children of Possum Trot. It adds a brief yet surprisingly sharp political commentary, especially considering that the film is distributed by Angel Studios, whose previous releases also include “The Sound of Freedom.” The Weigels deserve credit for their honesty.
Indeed, there is far more dramatic complexity to “Sound of Hope” than cynical skeptics will expect from a faith-focused film. The lead performances of King and Grosse are acutely human and easily relatable because they are so grounded in reality.
Mitchell is also terrific as Ramsey, the tough-talking social worker with a big heart. Every character in the film comes across as a flesh-and-blood person rather than a symbol. That is especially true of Mitchell’s work as Ramsey. Babnicova, Clay, and Pulliam are also heartbreakingly effective, expressing more trauma and anxiety than any children their ages should ever experience.
For those who insist on applying a cliched political slogan to “Sound of Hope,” “no child left behind” would fit better than “it takes a village,” even though there is a good deal of community support reinforcing the parents of Possum Trot. Regardless, it fully captures the texture of life in East Texas, including the lush landscape and the sense of community created by modest but joyous houses of worship, exactly like Bennett Chapel.
It might be predictable, but it is a hard road that the Martin family faces. That is why it is so rewarding to see them persevere. Recommended for fans of based-on-a-true-story, inspirational cinema.
