Mudbound

Despite the massive contributions made to the war effort by African Americans, their return to Mississippi wasn't greeted with anything more than a status quo of second class citizenry. That's exemplified by the "McAllan" family who, thanks largely to the incompetence of "Henry" (Jason Clarke), have to share a farm with the "Jackson" family. "Hap" (Rob Morgan) isn't exactly ecstatic at the prospect, but he and his wife "Florence" (the underused but impressive Mary J. Blige) aren't really in a position to object, especially as "Henry" is being egged on by his overtly racist "Pappy" (Jonathan Banks). As it turns out, "Henry" and his wife "Laura" (Carey Mulligan) aren't anywhere near as dyed in the wool supremacist as his dad, but he still expects to use the "Jackson" family as manual labour and to take advantage of them whenever he can. Their teamwork gradually starts to become effective, but they are still barely a mouthful away from poverty - both families, when the war sees the return of the decorated young "Ronsel" (Jason Mitchell) to the "Jackson" household and the the shell-shocked and bottle-fond "Jamie" (Garrett Hedlund) - the younger brother of "Henry". Quite against the grain of this local community, these two recent arrivals strike up quite a friendship - albeit one somewhat under the radar, but as the economic crisis starts to bite more; tensions start to rise and a tragedy occurs, you wouldn't be putting any dollars on that - or any other - friendship prevailing against a township populated by brutes in white hoods who don't care at all about the risks taken by the young "Ronsel" for his country. This is a slow burn but never dull and the gently developing efforts from the four parental characters, as well as a pity-inducing effort from Hedlund and a scene-stealingly curdling one from a Banks who manages to epitomise something of a Dickensian sense of evil, all combine well to illustrate just how little WWII had actually changed things at home. However, there might be some sunshine on the uplands of a future that may be some way off yet, but the grassroots of change are definitely starting to sprout. I did find this to be a little over-scored, but the dialogue is frequently quite potent and the photography of this vast and unforgiving territory sets us up with a story of survival on many levels. There are plenty of films depicting racial tensions in the American South and of the post-war hypocrisies that followed, but this is one of the better and more considered. It shocks - especially at the end - but I think that's because we are ready to be shocked.