Geoffrey DeLeons This is a film that really needed to be made, giving the "hearing" population a glimpse into not only the physical world of deaf and hard-of-hearing persons, but their emotional world, as well. This is not to imply that all hearing-impaired persons react identically, nor even similarly, to their limitation, but, as we see in the film, the conditions of the person's life, both inner and outer, are significantly altered by the deprivation of this sense.An important aspect of deafness is addressed in Children of a Lesser God: That of the psychological/emotional impact of those who verbally and physically abuse and neglect hearing-impaired persons. We see Sarah (and some current students) locked int their own world, to varying extents, refusing to communicate or even try. Sarah explains her avoidance and hostility at one point, describing childhood scenes when she was mocked and derided by her "hearing" peers.Her courage (and the very fire that breeds her hostility) enables and impels her to communicate (in no uncertain terms). Other, current students of the school are not so brave nor lucky: Some refuse to communicate even by sign language, and we can easily assume that this avoidant behavior is the direct result of not the disability, but the resultant abuse (including condescention) and neglect from family, "friends" and other members of society. Marlee Martin does an incredible job of acting, communicating her thoughts and feelings with just a look. If only the director had given John Leeds the responsiveness to be able to interpret Sarah's messages in her eyes, body language, etc., then the film could have been even better.Instead, Leeds often stands dumbfounded, not particularly intuitive, nor deep, nor complex. It is this deeper level of engagement that is missing from Hurt's acting, and from the script, in-general.When Leeds asks Sarah, "Who are you?", after having known her for quite some time, it is his own failure and shallowness that is illuminated. Sarah makes every effort to reveal as much of herself as she can. I am not certain that William Hurt had the chops for this role. One scene I wish had been done differently: That scene when John and Sarah are at his home, and he lays down to listen to some classical music: His relentless tension, deeply-ingrained rigidity and seriousness prevent him from allowing him to enjoy both Sarah's company, and the music, at the same time.He is completely at a loss of how to communicate anything of the music to her. He should have shown her the sheet music, and somehow illustrated the music, pointing to the notes and rests, revealing the flow (tempo) of it to her as it plays. This man seems frozen in some sort of selfishness and convention (even though he's been to all of the best schools).I commend the acting of the students of the school. If these persons are, in-fact, hearing-impaired, then it took great courage to break past the fears and antipathies that separate the "hearing" persons from those who have a hearing impairment. The direction was done in a manner that the dignity of all was maintained. Even the principal was shown to not be a monster of rigidity, and I appreciate the director's stepping outside of the standard formula in this regard.Children of a Lesser God is an important movie. The movies I consider important, I can count on both hands. If you want to broaden your world, watch it.

gavin6942 James (William Hurt) is a new speech teacher at a school for the deaf. He falls for Sarah (Marlee Matlin), a pupil who decided to stay on at the school rather than venture into the big bad world. She shuns him at first, refusing to read his lips and only using signs. Will her feelings change over time? Every so often a different sort of love story comes along. This is one of those, featuring a deaf woman and a man who wants to be her teacher (and more). It is interesting, and one has to wonder how deaf people react to it. Is this a compassionate and understanding film, or is it exploiting the deaf community? Certainly it seems that the intentions were good.Marlee Matlin is excellent, and it's nice to see she was honored for her role. I mean, I guess it's not a huge stretch to play a deaf woman, but it was probably an emotional role for her, knowing she was representing a great many people.

Rich Wright If I'm watching a film about two unlikable people that the script is desperate to put together, you can forgive me for not being too enthusiastic. In Children Of A Lesser God there's a teacher called James with an 'unconventional' style of doing things (When are we going to see a NORMAL educator doing NORMAL things?) That 'SURPRISE SURPRISE' work on his unruly class. He's just started at a school for the deaf you see, and in true Dead Poet's Society style, is the only live wire in a sea of formality. This part of the movie, as derivative as it is, is at least interesting.Then we meet the love interest Sarah, played by Oscar winner Marlee Matlin. She's 25, a former student there who's stayed on as a cleaner. For some reason, James starts to unabashedly stalk her and won't take "NO" for an answer when propositioning her for a date. She eventually gives in (Perhaps to just shut him up) and 'SHOCK HORROR' her emotions turn from dislike to l'amour almost in the space of one dinner.Another thing to note about her is her DARK AND TROUBLED PAST which shows itself in random screaming fits that arise for no particular reason. Yeah, she's had it bad... But flying off the handle at the slightest indiscretion didn't endear her to me one bit. So, you have the creepy stalker teacher who's OH SO WILD & WACKY on one hand, and the unstable deaf girl who takes offense at virtually everything on the other. Am I supposed to root for these irritating boors? No dice.I'll say one thing for them, though... They TRULY belong together. 5/10

leoperu Two is more than one. Three is more than two ; etc., ad lib. Such is the mathematics of director Haines' dramaturgical use of clichés in "Children of a Lesser God", an agreeable but insignificant romantic dramedy that pretends to be more grave than it is. Marlee Matlin - looking beautiful and acting convincingly - presents one of the strongest elements here ; others are Canada in autumn and Bach's strings. Yet the director with her screenwriters and cast (especially John Hurt in the lead) seem to be concerned more about (American mainstream) audience than about the deaf. That's why they often confuse realism and sentimentality ; their urge to translate every single sign language "speech", too, results in a disputable compromise with reality. More discerning viewers would likely prefer some tougher, enduring bite, for example the documentary "Land des Schweigens und der Dunkelheit", in which the German director Werner Herzog makes (almost) no compromises at all.