Acting Craftsmanship

More and more, not only is it foreseeable to perceive how Netflix, along with other more notable steaming services, has become the place for non cinema-goers to watch old and contemporary features, it’s also become an established platform that has graced our viewing gaze with original T.V. and film conceptions that have either gratified or discouraged audiences and critics alike. Indeed, from their staple and ever-acclaimed T.V. properties of Stranger Things and House of Cards, to their distribution efforts in showcasing films such as Cary Fukunaga’s Beasts of No Nation and Bong Joo-Ho’s Okja, there’s arguably no denying that Netflix have firmly provided the common viewer with binge-worthy material that negates our interest in watching other entertainment that would be shown either on our television sets or at the cinemas and keep establishing their name in consistently producing and distributing original and inviting concepts. Much of this can be seen in one of Netflix’s latest cinematic-offerings in the form of Dee Rees’ Mudbound, a period drama flick which differentiates from the said platforms other original filmic depictions by boldly illustrating a finely detailed snapshot of American history that resonates with audiences far beyond its period setting and mannerisms of certain characters.

Set in 1940’s Mississippi, Mudbound centres its story around two opposed and ethnically different families; one white, the McAllans, and one black, The Jacksons. Laura McAllan is trying to raise her children on her husband’s Delta farm, a place she finds foreign and frightening. In the midst of the family’s struggle, Jamie McAllan, Laura’s brother-in-law, is everything her husband is not – charming and handsome, but he is haunted by his memories of WW2 combat. Ronsel Jackson, the oldest son of Hap and Florence Jackson who all live within the McAllan farm, battles against discrimination and longing. With both Jamie and Ronsel both returning from similar experiences of war to rural farmlands, each of them must address racism and Post-Traumatic-Stress in their own way…

In adapting Hilary Jordan’s 2008 novel about the intersecting lives of two sharecropping families entrenched in the confines of rural Mississippi before and after the years of World War II, what’s noticeable to perceive of Dee Rees’ take on the aforementioned title is the way in which it faithfully exploits its narrative tendencies by focusing on the perspectives of multiple characters; rather than focusing on one particular outlook. Indeed, as much as Mudbound presents its story through the point-of-view of Carey Mulligan’s portrayal of Laura, where the said character narrates how she doesn’t particularly find the character of Henry McAllan to be that attractive but ends-up marrying him anyway since she believes it’s her duty to do so, the film opts to pirouette from the singular-perspective of Laura and pivots the attention onto other characters and what they’re thinking of the scenarios that they have to face. All introduced early-on and throughout the duration of the run-time, this form of story-telling that Rees has implemented, whereby a multitude of characters are given the spotlight through narration which is interwoven from one perspective to the next, is an approach that threatens to spread the characterisation thin and does, often than not, quash any simplistic cohesion that is asked for a feature like this; a film that is physically and mentally rooted in amalgamating the political and personal tones of the aforesaid time-period. Nevertheless, while the first act/hour of the feature belittles any emotional intrigue through its deathly slow pace and the depiction of characters going-about their domesticated yet fear-ridden lives of being farmers and the gradual feelings of solidarity yet tension they have between one another, Rees’ contextual style of inter-linking perspectives proves to be a strength; especially when both families welcome their far-flung sons back home from military service. Upon seeing Henry’s sweet-natured brother Jamie and Hap and Florence’s oldest son in Ronsel return to America from the foils of war, Mudbound’s central focus comes to the forefront; where the two fighting men’s friendship promises a fresh start in a community riven by racism yet only offers conflict for the two war-heroes. Presented to be more of an ideological war zone, not only is the African-American war veteran’s heroism debunked by the discriminating locals, serving instead to stoke their prejudices and is presented to be one of the films highest points which sets-up the atmosphere of deep racial tensions, something that’s mildly devoid within the first-hour, but the actions that Jamie endeavours soon turn to eradicate his relationship with his own family. It’s inviting to say the least and the problems that both Jamie and Ronsel go through which, in turn, makes the two of them become friends with honour, provides us with a great insight into the time-period displayed and holds your attention throughout. Except the actions that take place in the final portions of the narrative, which brutally brings forth a realistic depiction of racism injustice to the fold, it’s a shame that the many portions that make-up what Mudbound is presented to be, the film before the pivotal and conclusive moments never quite manages to hit you hard enough; considering the features themes and exposition. It’s not until the ending where we see the devastating reality of racism brought brutally into focus; making for a deeply disturbingly uncomfortable but powerfully moving watching experience. With the films tension at it’s most palpable, Mudbound certainly doesn’t hold back in the dire and harrowing moments that unfold, some of which are easily the most intense powerful scenes depicted along with other features that deal with this topic, such as Mississippi Burning and 12 Years a Slave.   

What really lifts the heavy nature of Mudbound’s story is the excellence of its cast; in particular with Mulligan’s depiction of a constrained Laura whose typical yet effective mannerisms are held in a realistic check. As much as the wide-range of characters displayed within the first-act of the film makes for a somewhat intricately muddled narrative, with very little cohesion as far as following character-arcs at spontaneous occasions, it can’t be dismissed how each of the actors on-screen convincingly bring their enactments to life, so to speak. This is to be expected from the likes of Mulligan who, in past roles, has always conformed to the source material that’s presented to her; as seen in her portrayal as Kathy H in Never Let Me Go. She plays an individual whose adaptability to farm life is more about survival instinct than thriving enthusiasm and serves to be a rather complex characterisation to ponder long-after the films ended. There’s no denying that this is probably her best work to date. Much of her excellent enactment however, is plausibly matched by the thick and charmless Jason Clarke, portraying as the potent yet ambitious Henry McAllan, as well as the stoic and unrecognisable Mary J. Blige as Florence. Along with Mulligan, the standout performer is that of Jason Mitchell, known for playing Eazy-E in Straight Outta Compton, who excels in a part that requires an intricate mixture of charisma and diffidence. It’s the type of performance that Mitchell provides that will, hopefully, guarantee him more prevalent roles in the future. Much of the same can be said of Garrett Hedlund’s as Jamie McAllan who similarly provides a reticence to his persona, along with his presentable charm, that also evokes a muddled characterisation that serves as a good-balance in comparison to other secondary roles. If there’s bad note to the whole ensemble, it would be the contribution of that Jonathan Banks as Pappy McAllan makes since his hammy-effectiveness proves to be a flaw in a film that’s woven in subtly-grounded realism.

Along with the acting craftsmanship on effortless display, much of the recognition of Mudbound has to go down to the cinematographer of Rachel Morrison who manages to illuminate a politically and personally heightened drama of 1940’s America in a way that’s captivating to look at; despite the natural and gritty environments that’s on show. Combined with the production design, from the purposefully constructed rural interiors of the muddy houses and rural farms that the characters reside in through to the set-pieced clothing, the visual prowess that Morrison presents in Rees’ latest film is exquisite to perceive and demonstrates the capacity of what camera-work, such as this, can do in a scenario and setting that takes place in this film. In many ways, it’s a subtle call-back to Jeff Nichols’ film of Mud which also presented Mississippi in a blooming fashion.

Ultimately, director Dee Rees has constructed a film in Mudbound that not only breaks a taboo seldom explored in films – the hypocritical treatment of black soldiers and discrimination overall – but serves as a snapshot feature that outlines the political and personal conceptions of 1940’s America. While it’s understandable to consider that the unique narrative device of splitting its point of view across six different characters stagnates the films structural flow, it proves to be a strength once the two war veterans of Jamie McAllan and Ronsel Jackson and is a fidelity that expressively showcases the acting-calibre that the ensemble cast provides. Along with the release of Okja earlier this year, Mudbound firmly establishes Netflix as a steaming brand that will continue and produce and distribute original and enticing pieces of artist work and it wouldn’t be surprising to see Rees’ latest film, perhaps, get a few nods for the film awards that near in contention…

With that, it’s time to end this week’s Film Review. As always everyone, thank you for reading my latest film review of Mudbound and I hope you’ve all enjoyed the read! 😉 If anyone has an opinion on either the film or on the review itself, you’re more than welcome to comment down below. For this week, considering I was a bit late putting this particular review out at the end of last week, I will be posting-up my first YouTube video where I’ll be reviewing Justice League! Now, I don’t expect it to be as good as other people who’ve already done a video-review of said film. However, I do hope you’ll enjoy it! I should have it out late this week, if not early next week! 😊 Once again, thank you for reading my latest Blog Post and I’ll be back later this week…if not early next week! 😅 Have a nice week! Adieu! 😁👋

★ ★ ★ ☆ ☆ – Alex Rabbitte