Mississippi Burning: Review of Mudbound

Mudbound

Director: Dee Rees

By Alex Watson

Dee Rees' Mudbound is a movie that is unafraid of tackling a dark point in US history. Among the muddy fields of Mississippi, the racial tension simmers. However, Rees also makes the human struggle element clear because this story is about how one piece of land causes a great divide among families. There is also a notion of brotherhood and two characters although worlds apart are drawn together by a terrible experience. The end result is an emotionally engaging piece.

Henry McAllan (Jason Clarke) leaves his idyllic city life in Memphis to pursue his dream of owning a farm in Mississippi. The move is hard on his wife Laura (Carey Mulligan) who struggle to adapt to living in a shack with no running water or electricity. She is also drawn to his war hero brother Jamie (Garrett Hedlund) who is affected by his combat experience. At the other end of the spectrum is sharecropper Hap (Rob Morgan) who has five children with wife Florence (Mary J Blige)- their son Ronsel (Jason Mitchell) has also returned home from WWII but faces another war altogether.

While six different characters providing narration does feel like overkill in places, there are few complaints to be had about Mudbound. Rees is able to draw us to each individual characters and bring them into their innermost thoughts. There is an unspoken sense of order through the early stages of this picture and from the moment Henry's family arrives, Hap knows their place in the world. His family has worked on the land for generations even though the land will never become his. " this character continually wonders about his place. While Henry is never outright hostile or unkind, his Pappy (a delightfully evil Jonathan Banks) is very much upfront with his hostility. Refusing to even sit next to Hap in the front of their car, his blunt hatred causes friction whenever he appears.

Jamie's arrival is one that stirs the pot. Permanently drunk and suffering from PTSD, he is saddled with a deep-seated guilt over the soldiers he failed to save in WWII. Laura is drawn to his kindness as he seems to embody everything her husband isn't. When meeting Ronsel for the first time, the pair do not see black or white but a fellow combat vet. Their friendship blossoms because they both understand the horrors of war. Sadly it also ignites a furious reaction from Pappy and what transpires is truly horrific. At the height of segregation, this friendship becomes the movie's heart and soul.  Laura's story is also one that brings a sadness to our hearts. A woman trying to make the most of the soggy and mud-filled land she occupies, she also chafes under the dominance of her unlikable father in law and her distance husband.

Rees's takes her audience into a time that most American audiences wish to forget. In 1940's deep south, there was an obvious social ladder and Hap and Florence's family unwittingly found themselves on the bottom rung. The intense hatred and hostility are at times also unbearable to watch. Especially during a tense sequence where Ronsel attempts to leave via the front door of a shop. Pappy and his equally racist pal are quick to ensure he knows to leave through the backdoor "I don't know what they let you do over there, but you're in Mississippi now!" Hap and Florence are bravely trying to build their own dream despite the odds being stacked against them. The notions of losing and keeping faith are strongly enforced- Laura is continually losing hope over her husband's perhaps foolish intentions.

While Carey Mulligan gives a stand-out turn as the struggling Laura, she is almost a background player in this story. Garrett Hedlund is outstanding in a strong supporting role and firmly captures a man wrestling with his conscience. Dismissed as drunk by both his brother and father, Jamie carries a burden few men understand. Hedlund is definitely Oscar-worthy here. Jason Mitchell's Ronsel is the character who will capture your heart. A brave soldier, he comes home to find the old problems that plagued his life are still there. Mitchell's barely contained disgust is mesmerizing to watch and on merit alone, he deserves to rewarded. Mary J Blige is the one tipped for Oscar glory and as in a powerful and less showy turn- she thoroughly lives up to the hype.

Mudbound is a movie that captures the struggles of everyday people trying to live a dream. It is also a powerful voice about a dark era of US history.

Hear Me Roar: Review of Suffragette

Suffragette

Director: Sarah Gavron

By Alex Watson

A powerful central turn from the wonderfully consistent Carey Mulligan isn't enough to spark Sarah Gavron's Suffragette into life. A brutal recollection of a campaign where women literally put their bodies on the line to secure voting rights. The main problem is this film feels far more preachy and drawn out than neccessary. Mulligan's character is well realized and in places superbly underplayed, just a shame that writer Abi Morgan couldn't spread this to the other characters. 

Maud Watts (Carey Mulligan) is a working class woman who has worked in the same laundry since age 12. Although she leads a contented life with husband Sonny (Ben Whishaw) her son George, Maud is still struggling to survive. The Suffragette campaign for women's rights has taken a more militant approach under Emmeline Pankhurst (Meryl Streep) and soon Maud's eyes open to the oppression that women like are facing. However, the more she becomes involved, the more her life begins to falls apart. 

Suffragette is a well acted piece, there is no question there but it is also a rather narrow sighted picture by Gavron. All the men around Maud are shown as callous and sexist pigs that believe women don't deserve anything. Even Sonny eventually revealed as a rather fat headed chauvinist who believes her place is as his wife. At first, our heroine goes about her business without argument puts up with her lout boss Mr Taylor (Geoff Bell). When her friend Violet (Anne-Marie Duff) is unable to speak at Parliament, Maud takes her place and this introduction to activism provides her with a renewed purpose. 

Although Maud is well written, writer Abi Morgan doesn't given nearly the same treatment to character such as educated chemist Edith (Helena Bonham Carter) or her abused yet hopeful friend Violet (Anne-Marie Duff). Both ring in a fine pair of supporting performances but their depth only goes skin deep. Emmeline Pankhurst is made out as a holy and idolized figure but aside from a brief and barnstorming Meryl Streep appearance, her relevance to the story is minimal. The law men such as cynical detective Steed (Brendan Gleeson) are not presented as the boo-hiss villains expected. Steed is one of the few men who believes in keeping the peace and perhaps importantly, preventing these women from doing something worse. The exchanges between Steed and Maud are one of main flickers of electricity. 

Gavron does a decent job in presenting just how violent and risky this campaign became through time. Any numbers of times we see female activists attacked by police after venting their frustrations. Their actions such as bombing a government ministers empty home and the last drastic action of Emily Davison (Natalie Press) are neither praised or condemned. This picture works on a level where there is a level of repression that feels the need to break free. The third act is the one that slightly breaks the camel's back as the woman are imprisoned and attempt to go on hunger strike. Despite some hard-bitten force feeding, it just doesn't crackle like it should do. 

Overall Suffragette is a gritty and otherwise heartfelt piece but sadly it doesn't feel as meaty as one would expect. I expect we will probably see this among the ten Best Picture nominees, but its lack of depth on its subject may have some voters going against it. 

A Woman Under The Influence: Review of Far From The Madding Crowd

Far From The Madding Crowd

Director: Thomas Vinterberg

By Alex Watson

Danish director Thomas Vinterberg makes a good stab at adapting Thomas Hardy's, Far From The Madding Crowd. For the most part it is a heart wrenching and involving movie and in some ways even surpasses John Schlesinger's 1967 version. After his emotionally churning film, The Hunt, Vinterberg has been the ideal man to bring a new version to screen. Effortlessly he brings to light the clash between classes and the pain that the smallest actions can cause.

Bathsheba Everdeen (Carey Mulligan) is a headstrong young woman who has recently inherited her uncle's estate. Diving headfirst into the farming world, she soon finds herself tempted by three different suitors. Quiet farmer Gabriel Oak (Matthias Schoenaerts), rich loner William Boldwood (Michael Sheen) and dashing soldier Sergeant Frank Troy (Tom Sturridge). But although she yearns not become a man's wife, Bathsheba is seduced by passion and tradition. Both of which will eventually have a dangerous outcome of all.

The most effective piece of Vinterberg's Far From The Madding Crowd, is how he firmly portrays how Bathsheba ably dances into a man's world, but comes unstuck as a result. The three men in her life are the definition of class difference. She falls hard and fast for handsome but dangerous Troy and secretly scolds herself for it. A valentine's prank on the lonely and repressed Boldwood sets off a risky spark and she feels genuine remorse for hurting a good man. Even her first meeting with Sheppard Gabriel is one that will set off a complex relationship of love and dependence. Bathsheba renounces marriage claiming "I'd hate to be someone's property" but although independent she also feels the need for a male presence.

Inner conflicts between the characters are also excellently conveyed. Although Gabriel is the quiet yet wise soul who lovingly observes Bathsheba from a distance, he is perhaps the only one who can see through the other suitors facades. Troy while impressive on the outside is also a self-destructive and lovesick man who still pines for lost love Fanny Robbin (Juno Temple). But it is easy to see how Bathsheba is instantly illured by his sex appeal and yes the famous sword wielding scene is equally tantalizing as before. Boldwood while rich and openly speculated about is also a man secretly drowning in his own loneliness and insecurity. Courting Bathsheba seems to be his view of way of solving life's problems.

But even in the year since its first publication, Bathsheba is still a heroine who is not only likeable but also is willing learn from her transgressions. While a capable farmer and businesswoman, she is also naive to the ways of love and relationships. She also gives the movie a strength to move forward convincingly and to some movie goers, this might give Vinterberg's movie a light feeling, but not once does it weight it down.

Carey Mulligan proves to be an excellent Bathsheba and demonstrates a winning charm. Her real strength is that she gives this character an intelligence that marks out from Julie Christie's original iconic turn. As the world weary Gabriel, Matthias Schoenaerts also excels and rings in a turn that both heartfelt and firmly captures the silent longing that surrounds Hardy's novel. Tom Sturridge does give Troy a slightly more humane feel, but he still falls short of the cold hearted and sexual charged turn that Terence Stamp made so memorable! Michael Sheen feels underused as Boldwood, but shows enough to give a good impression of a man on the verge with himself.

As adaptations go, Vinterberg's version of Far From The Madding Crowd is one that has surprised everyone. It might not feel as iconic as the John Schlesinger version, but it does rise about it emotionally and delivers a stirring and engaging tale. Will also come in handy as Farming 101 guide for those wanted to relocate to Dorset any time soon!