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The Sound and the Fury (2014)

A look at the trials and tribulations of The Compson siblings, living in the deep south during the early part of the 20th century.



(novel), (screenplay)
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Cast overview, first billed only:
Caddy Compson
Miss Quentin
Quentin Compson
Caroline Bascomb Compson
Dalton Ames
Herbert Ames
Young Quentin Compson
Young Caddy Compson
Cody Farr ...
Young Jason Compson


Directed by and starring Academy Award nominee James Franco, The Sound and The Fury captures the lives and passions of the Compsons, a once proud Southern family caught in a tragic spiral of loss and misfortune. Based on the novel by Nobel Prize winner author William Faulkner and considered among the 20th century's greatest works, The Sound and The Fury encapsulates the universal theme of the death of honor, social injustice and forbidden love. Written by Anon

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based on novel | See All (1) »




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Release Date:

23 October 2015 (USA)  »

Also Known As:

L'urlo e il furore  »

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Did You Know?


This film marks the eleventh collaboration with James Franco and Seth Rogen, after This is the End, Pineapple Express, The Masterpiece, Freaks and Geeks, The Night Before, The Interview, Sausage Party, Knocked Up, The Green Hornet, and Zeroville. See more »


Referenced in The Walking Dead: Vatos (2010) See more »

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User Reviews

25 May 2016 | by See all my reviews

Filming ordinary books is easy; it's the stuff of the film business. Filming one of the greatest English language novels of the 20th century is really hard. Really hard.

The script is a worthy and very creditable effort which makes concessions to film and audience comprehensions; something Faulkner flouted when he forced readers to deal with the opening sixty pages of this remarkable book.

The telling is true enough, it keeps to the thread of the stories; the compromises between book and film are understandable; the portrayals are strong and the director has Faulkner's echo to work with. It is a solid entry to the book and no doubt it will be the thing students use instead of reading it.

The question is whether it works in its own right and that is more problematic because if one comes to the film via the book the comparisons are interminable. If a viewer sees it as is they could quibble with its purpose and narrative, still atypical, especially in these conventional times.

The essential quality of Faulkner's prose is effaced; it has to be as the camera replaces the text, and that is a huge loss for multifarious reasons, in particular the extreme subjectivity which must be diluted through the objective lens.

Even so, the film is admirable for its talent and effort; nor does it waste the viewer's attention.

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