“Mudbound is the Oscar movie we need right now,” admonished The Washington Post.
A female-helmed drama about two families – one white, one black – living side by side in the Jim Crow South, Mudbound’s script is adapted from Hillary Jordan’s 2006 Bellwether Prize-winner (for ‘socially engaged fiction’). It’s perfectly-timed, with the industry under scrutiny for #OscarsSoWhite.
There was a landslide of articles emphasizing the tough shoot and the transformation of star Mary J. Blige, warning voters that the movie must not be overlooked.
Distributed by Netflix (there were no other takers following its Sundance premiere) Mudbound sees stubborn Henry McAllan (Jason Clarke) drag his kids and wife Laura (a simpering Carey Mulligan), plus racist father Pappy, to a dilapidated farm in the Mississippi Delta where the frequent rains strand them in acres of mud.
Their lives become entangled with those of their share tenants, Hap and Florence Jackson (Blige), who keeps house for the McAllans. They are joined by Henry’s brother Jamie (Garrett Hedlund) and the Jackson’s son Ronsel (Jason Mitchell), both returning from WWII Europe.
The veterans form a bond that riles Pappy, while Laura becomes infatuated with her brother-in-law – although unlike the prickly character of Laura in the book, she isn’t checking his shirts for lipstick, or taking her frustrations out on Florence.
Writers have described the movie as focused on Florence and Laura as two Strong Women whose differing views of the world are shaped by race and class etc etc. According to Refinery39, “both women…feel the growing weight of a patriarchal society bearing down on their shoulders...”
This is an interesting projection, as writer-director Dee Rees concentrates on the friendship between 6’2 leading man Hedlund, and quirky little character actor Mitchell, miscast as the noble Ronsel.
Rees keeps Jordan’s strategy of spreading the narration between six characters, but Hedlund emerges as the clear hero. He’s more enlightened than his book counterpart – instead of being shocked by interracial dating, Hedlund leers: “Ever been with a white girl?“. Even his encounter with a hapless cow has been culled.
What the picture does achieve, despite its small budget, is a truly epic look, especially in the flashback scenes. We get lots of stunning farmland vistas courtesy of Rachel Morrison’s cinematography, which earned her the distinction of becoming the first woman to be Oscar nominated in the category.
Deferential Oscar voters also handed Blige a best supporting actress nod for doing little more than look dignified with her arms crossed, while Dee Rees earned an adapted screenplay nomination for turning a historical suspense into solemn prestige.