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Mudbound: A Movie Review That Became Something Quite Different

Mudbound: A Movie Review That Became Something Quite Different

Mudbound is an harrowing epic piece of American filmmaking by director, Dee Rees.  Beautifully shoot by cinematographer, Rachel Morrison, while being very stressful to experience, the passion of all who made this powerful film is stained on to each and every frame of film, much like the mud and the dirt that is caked onto the skin and shoes of these farmers. Based on the novel by Hillary Jordan, with a screenplay by Virgil Williams, this film is solidly told and crafted with elegance, love, frustration, anger, and pain (take note of all the females at the top of this film’s power structure, it’s impressive and should be applauded – as it was at the NYFF).

Garrett Hedlund, Jason Mitchell

Garrett Hedlund, Jason Mitchell

It’s a complicated tale of two families, of two sons: one black and one white, coming back to the farmland of Mississippi, to find that they have a new war to fight and struggle against in the segregated and cruel South. The story is upsetting and deeply disturbing, steeped in the violent racism of America. There is goodness and devotion but so much anxiety layered on even the kindest of moments. One starts to watch the corners of each exquisitely filmed scenes, especially in the more compassionate moments, waiting and staying alert for the expected hatred and violence to rise its ugly white-supremist head and destroy all of the love and kindness on display. 

 Mudbound

This film is not perfect. It stalls for moments at a time, leaving us to our faith that it will bring us back on board. But what it does get right is to showcase what America was and sadly, still is. This country is not great, but is as dirty and upsetting as the mud that is bound to the bodies of these characters. I want to cry for all those people then and now, including myself (a member of the LGBTQ community and a card-carrying Native American Indian) who lived and now live under the terrible heart-crushing thumb of fear and oppression. I want to weep for us and present state of this union. I want to fight back in protest, to take a knee, for the pain this black family, the strong and proud Jackson clan who dream of a future of land owning and self-realization, must withstand in Mudbound. The parents, played most magnificently by Rob Morgan and Mary J. Blige, who bear the weight of oppression, struggle as they watch their son, Ronsel, portrayed with power and intelligence by Jason Mitchell, return home to rural Mississippi after serving in the army, where he got a glimpse of something closer to respect and equality. The white McAllan land-owning family struggle as well in the hard landscape of the rural South, but from a place of dirty but structural privilege. Even while the wife, Laura, played wonderfully by the talented Carey Mulligan, and the young war pilot brother-in-law, Jamie, portrayed handsomely by Garrett Hedlund, try their best to be better and more fair, they still come from a place of privilege in a way that can’t be denied or ignored. 

Carey Mulligan

Carey Mulligan

It’s hard to take in all that is shown in this film once the credits begin to roll, especially as we walk out into the America that we are now just trying to withstand. This America, with a White House and the GOP party filled to the brim with hate and disgust of all that aren’t white, male, straight, and rich. is encrusted in their minds like dried mud in hair. This White House that is attempting at every tick of the clock to turn back time to the days of oppression, fear, and inequality in regards to race, gender, and sexual orientation. With the racist and power-driven White House turning a blind eye to the horror of what is happening at this very moment in Puerto Rico, the territory that holds no electoral votes. They lie about the hurricane recovery efforts while criticizing and blaming the victims for their predicament, but send relief to Texas and Florida, which does have a large number or electoral college votes. This leadership attempts to legalize discrimination based on sexual orientation by both the federal and state government branches (ex. Mississippi’s new law allowing discrimination based on sexual orientation). With an attack coming, it seems daily, against equal and fair access to affordable health care, women’s reproductive rights, to birth control and abortion (not to mention all the attacks on science, global warming, peace agreements, trade agreements, and controls on how businesses need to be monitored and controlled), I shudder and feel sick, especially after seeing a film that depicts the hate and violence of racism after World War II, and what it begets. I leave the theater to be bombarded once again by news articles focusing on what is happening in our country by its leaders. To realize (not for the first time, mind you) that this America where I have chosen to live, is working hard to return to a white privileged past. Much has changed here in America, but so little has altered.
Garrett Hedlund, Mary J. Blige, Rob Morgan

Garrett Hedlund, Mary J. Blige and Rob Morgan appear in Mudbound by Dee Rees, an official selection of the Premieres program at the 2017 Sundance Film Festival. Courtesy of Sundance Institute |photo by Steve Dietl

This film makes me want to resist even more strongly that horrible man in the White House and his cohorts in the government of America. They should, but don’t and won’t, feel shame for all that they stand for and do. I hope history treats them in the same way this film portrays the most hateful and vile character, the racist white robed-wearing father of Jamie McAllan, expertly portrayed by Jonathan Banks, because they are one and the same. Please, history books, do us that service, just like this stunning film, Mudbound does for all the families that this film represents.

For more go to frontmezzjunkies.com

Film
@#frontmezzjunkies

My love for theater started when I first got involved in high school plays and children's theatre in London, Ontario, which led me—much to my mother’s chagrin—to study set design, directing, and arts administration at York University in Toronto. But rather than pursuing theater as a career (I did produce and design a wee bit), I became a self-proclaimed theater junkie and life-long supporter. I am not a writer by trade, but I hope to share my views and feelings about this amazing experience we are so lucky to be able to see here in NYC, and in my many trips to London, Enlgand, Chicago, Toronto, Washington, and beyond. Living in London, England from 1985 to 1986, NYC since 1994, and on my numerous theatrical obsessive trips to England, I've seen as much theater as I can possibly afford. I love seeing plays. I love seeing musicals. If I had to choose between a song or a dance, I'd always pick the song. Dance—especially ballet—is pretty and all, but it doesn’t excite me as, say, Sondheim lyrics. But that being said, the dancing in West Side Story is incredible! As it seems you all love a good list, here's two. FAVORITE MUSICALS (in no particular order): Sweeney Todd with Patti Lupone and Michael Cerveris in 2005. By far, my most favorite theatrical experience to date. Sunday in the Park with George with Jenna Russell (who made me sob hysterically each and every one of the three times I saw that production in England and here in NYC) in 2008 Spring Awakening with Jonathan Groff and Lea Michele in 2007 Hedwig and the Angry Inch (both off-Boadway in 1998 and on Broadway in 2014, with Neal Patrick Harris, but also with Michael C. Hall and John Cameron Mitchell, my first Hedwig and my last...so far), Next To Normal with Alice Ripley (who I wish I had seen in Side Show) in 2009 FAVORITE PLAYS (that’s more difficult—there have been so many and they are all so different): Angels in American, both on Broadway and off Lettice and Lovage with Dame Maggie Smith and Margaret Tyzack in 1987 Who's Afraid of Virginai Woolf with Tracy Letts and Amy Morton in 2012 Almost everything by Alan Ayckbourn, but especially Woman in Mind with Julia McKenzie in 1986 And to round out the five, maybe Proof with Mary Louise Parker in 2000. But ask me on a different day, and I might give you a different list. These are only ten theatre moments that I will remember for years to come, until I don’t have a memory anymore. There are many more that I didn't or couldn't remember, and I hope a tremendous number more to come. Thanks for reading. And remember: read, like, share, retweet, enjoy. For more go to frontmezzjunkies.com

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