Mudbound

Mudbound has uneasiness filling the air from start and the dramatic tension is pertinent for the most parts of the motion picture. It aims to present audiences the same feeling of reading a good classic literature. With the theme of civilization in hand, writer-director Dee Rees made this uncompromising period drama film with a unique storytelling structure. It begins by introducing us the principal and supporting characters with strong set-ups. You immediately get to know Henry (Jason Clarke) and Jamie (Garrett Hedlund). Differences between the two are clear as crystal. With a tease of something that has happened prior to this event we're seeing, the actual narrative lifts off the surface.

Henry's life takes the main seat, telling us how he and his family ended up in the mudbound farm after dwelling in the suburbs, before proceeding to elaborate on his relationship with Hap (Rob Morgan). The set-up is fairly extensive, as it builds these two units of family before welcoming in the conflicts. Both families are going through similar difficulties. And both of them have a family member currently out at war.

Whenever the respective war subplots surrounding Jaime and Ronsel (Jason Mitchell) appear, it douses the flame off the main plot. Only upon their return home, we see the purpose bearing fruit. The subplot switches seat with the main. Harry and Hap goes missing for most of the last hour, which obviously kidnaps the established conflicts away with them too. That's when we realize that the film's really about Jaime and Ronsel. As aforementioned, the storytelling structure's a little unique. It promised us to foresee something initially, but proceeded to deliver another. This shift is slightly disappointing.

The boys' friendship sits on the void the conflicts left. Exchange of words, recounts and understanding between them are heartwarming. War united them irrespective of the unfortunate racial divide surrounding their skin color. Equal respect earned. Their story boils down to an intensely depressing climax! Ku Klux Klan assault is brutal, violent and robs us of any lingering hope! At war, the boys were at peace. At a place where there's peace, they are at war. Through this tragedy, we come to an understanding why a friendship is unlikely to be formed between Henry and Hap, as they share a final stare down before parting. All potentials extinguished. Minor plot about Vera (Lucy Faust) could have been chopped off even though it's a variation of the theme, which would have resulted in a sharper script focus.

Dee Rees bestowed her film not only with solid writing, but world class technicalities too. Prosthetics for violence are well done, be it the wounds or heads blowing off! Country life is projected so raw that the experience is palpable! The era feels lived, with on point accents. Color is soaked with brim and hit the appropriate visual tone with the help of Rachel Morrison's cinematography, although the night scenes can get too dark at times. The use of environment, weather and cricket sounds elevate the mood even further! Lastly, Tamar-Kali Brown's music is impressively heavy!