Mudbound

MUDBOUND (Dee Rees, 2017)

In MUDBOUND two families in the Mississippi delta farm the land, often with a great deal of difficulty, but while there is much they have in common in post-World War II America, their races make profound differences in how their lives unfold. Henry McAllan (Jason Clarke) moves his wife Laura (Carey Mulligan), their two daughters, and his racist father Pappy (Jonathan Banks), from Memphis flush with the expectations of what being a landowner will bring. They soon are faced with the hard reality that the grueling labor and stark living conditions aren’t entirely what Henry had in mind when he purchased the property. Nearby with a wife Florence (Mary J. Blige) and three children is Hap Jackson (Rob Morgan), a tenant farmer who wishes to own the land that his descendants worked as slaves.

Henry’s brother Jamie (Garrett Hedlund) and Hap’s son Ronsel (Jason Mitchell) enlist when the time comes for the United States to enter the Second World War, and both come back seeing things differently. Ronsel has become accustomed to being treated more equally. He also leaves behind a German woman for whom he was great affection and seems restless back home. Jamie is haunted by the death he witnessed in wartime and often gets drunk to assuage the pain. The two bond over what they saw and did in the European theater even as such chumminess draws negative attention from the locals.

MUDBOUND’s screenplay by Virgil Williams and director Dee Rees fluidly shifts among perspectives through weary narration stained with the disappointment and bitterness that colors the day-to-day realities and futures for these characters. All wish for something better but know that they seem doomed to be stuck in the mire.

Racism exerts a strong pull on what transpires, and MUDBOUND demonstrates how it destroys through overt and less obvious guises. Pappy’s virulent strain of hatred is the most appalling and easiest to condemn. Its consequences for those he targets and his own corroded soul are readily apparent. Rees also shows how a quieter, less loud form of racism tips the power dynamic. Henry does not make explicit threats or direct disgusting comments toward Hap and his wife, yet they know that if they don’t heed his requests, he won’t continue to ask nicely. Their interests are subservient to his, whether it’s jeopardizing their health or taking leave from their family to attend to his.

While MUDBOUND observes that the muck in this mindset drags everyone down, it also spots the potency of shared experiences to foster understanding that breaks down barriers. Hedlund and Mitchell give the richest performances, in part because their characters breach what separates the others.

Grade: A-

Country Strong

COUNTRY STRONG (Shana Feste, 2010)

In COUNTRY STRONG country music star Kelly Canter (Gwyneth Paltrow) gets yanked early from her rehab facility and put back on the road to perform a trio of comeback concerts across Texas. Kelly’s drunken antics on a Dallas stage resulted in a public relations fiasco, not the least of which is because the pregnant singer lost her baby in the incident.

Her husband-manager James (Tim McGraw) is eager to get Kelly back in front of her fans and push aside the tabloid covers. Joining her on the road are up-and-coming singer-songwriter Beau Hutton (Garrett Hedlund), a rehab worker Kelly became familiar with, and precocious beauty queen Chiles Stanton (Leighton Meester).

COUNTRY STRONG is essentially a TNN or CMT original production with a bigger star than would appear in a TV movie. With her regal bearing, Paltrow might seem miscast, but since Kelly is more countrypolitan than down home, she acquits herself well enough in the thinly conceived role.

Even with Paltrow headlining as a Shania Twain-type superstar, writer-director Shana Feste seems uncertain just exactly who the film is about. Kelly influences much of what develops, yet she’s off screen for long stretches and incidental to the major thread regarding Beau and Chiles’ complicated but thoroughly uninteresting relationship.

Is COUNTRY STRONG a cautionary tale about the burdens of Kelly’s fame? Is it a catty backstage drama about the rivalry between a potentially falling and rising star? Is it merely a glimpse at the inner workings of the industry from the perspective of newcomers Beau and Chiles? Like an electronic gadget that can perform multiple tasks but none of them well, COUNTRY STRONG attempts to address a variety of pitfalls in the entertainment business but doesn’t deal with any of them satisfactorily. Feste needed to make a choice rather than cramming three movies into one.

With so many storylines battling for supremacy, COUNTRY STRONG never conveys who these people are and is often inconsistent in portraying them. Kelly speaks of how love and fame are incompatible, yet the film does little more than give glancing acknowledgement of the necessity of placing publicity above personal well-being. Beau is supposed to be a rebel with artistic integrity, but he is easily and willingly coopted by the machine. Chiles is established as an ambitious careerist, yet she’s far too passive and uncalculating in chasing the golden ring.

Among its muddled subplots COUNTRY STRONG credibly features a lot of music. Since none of the actors seem destined for the Grand Ole Opry, it doesn't hurt that they are essentially performing pop with pedal steel guitar than being called on to pass as hardcore country and western artists. Adopting a twang and putting on the right clothes help them look and sound the part, but without a more focused screenplay better grounded in the industry, they're really doing nothing more than playing dress up.

Grade: C-