Grasping in the Mud

So this is a film that came out on Netflix some time ago, but now that it’s got Oscar nominations, I’m compelled to watch it. Mudbound is directed by Dee Rees from a novel by Hilary Jordan about two families of different races living in Mississippi in the 1940s, and the impact the Second World War veterans in each kin have on them. It boasts some unique direction and filmmaking, and quality acting, though it’s often narratively underwhelming and contrived.

Owning a farm outside Marietta, Henry McAllan (Jason Clarke) has higher aspirations for his family, but is confined by his situation and a loveless marriage with Laura (Carey Mulligan). Working the farm is Hap Jackson (Rob Morgan) while his wife Florence (Mary J. Blige) is a caretaker to the McAllan children. Both Hap’s son Ronsel (Jason Mitchell) and Henry’s brother Jamie (Garrett Hedlund) go off to fight in the war, but ultimately return changed, stirring up relations between their two families.

This is one of those movies that begins at the end, and the action of the plot is entirely revealed in flashback, which is a device I’m not usually fond of in storytelling. Given the details in this scene too, it becomes pretty easy to predict after a while what’s going to happen. The premise is really good, and how it holds a lens up to the specific racism of the American South in the 1940s in contrast to the rest of the world. This is certainly what Ronsel notices while abroad, and what he wants to change back home. And I like the relationship between Ronsel and Jamie, who in his own way has been enlightened by his service. There’s some interesting conflict relating to the nature of racism that could be addressed. However apart from a few ideas raised and some character explored on the part of these two protagonists, there’s nothing new to any of the thematic content of this film. It’s still a case of progressive thinkers vs. bigots, a very simple conflict. It never forces the racist characters to confront their biases or have a discussion, it merely boils down to hateful people being hateful without reproach. That’s not an inherently bad thing to portray, as sometimes it’s certainly the case in real life, but there have been decades of movies like this showing that kind of behaviour and action is wrong -going back all the way to In the Heat of the Night and To Kill a Mockingbird. There’s brutal imagery and violence to this film, yes; but even that doesn’t stand out in as vivid a way as something like Mississippi Burning or even this years’ Detroit.

The casting however is very good. Garrett Hedlund and Jason Clarke hold their own really well, balancing each other out. Jamie’s PTSD is played well, as is his recovery from war, while in the early parts of the movie Henry’s bubbling resentment makes for an interesting characterization. Rob Morgan is quite strong and Mary J. Blige (who also sings this films’ Oscar-nominated song “Mighty River”) is great. The face of racism in this movie is Henry and Jamie’s father, played to horrifying excellence by Jonathan Banks. Even as a one-dimensional character who on paper is incredibly easy to hate, Banks reminds us how scary he can be. The best performer in the movie though is definitely Jason Mitchell, who knocks it out of the park as a confident yet uneasy war veteran who has a need to speak his mind. The weight of prejudice is constantly on him and you feel it. Sadly though, in contrast to this, Carey Mulligan isn’t done justice. She plays her part as well as she can, which is still quite impressive being Carey Mulligan, but ultimately she doesn’t really matter a whole lot. Her primary subplots don’t resolve, and given the real drama concerning Jamie and Ronsel and even Henry to a degree (though he too isn’t entirely developed), you can’t help but feel her problems are a little pointless. She seems to exist purely for tension. Also, Laura narrates for parts of the story, as does Hap; which is a little inconsistent considering the film doesn’t appear concerned much with them after the first third.

This is a very skilfully made film though. The cinematography especially is well done, by Rachel Morrison of Fruitvale Station and Dope. It’s shot in such a naturalistic way that’s very appealing for this kind of story. It’s smart and even visually creative at times. Rees certainly knows how to construct numerous scenes in an engaging way. I love the editing in one sequence in particular that cuts between parallel actions in Mississippi and Europe in a very sharp rhythm.

But in the end, despite the efforts to make it look great, Mudbound is weakened significantly by an underdeveloped plot and characters that could have said something new, but preferred not to. Rees ensures that it doesn’t do what it does poorly; but it offers little more than you could get from any other similar race-relations period movie.