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Mud (2012)
    
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Director:
Jeff Nichols |
COUNTRY
USA |
GENRE
Drama |
NORWEGIAN TITLE
Mud |
RUNNING
TIME
130 minutes |
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Producer:
Lisa Maria Falcone
Sarah Green
Aaron Ryder |
Screenwriter:
Jeff Nichols |
Review
Jeff
Nichols (Shotgun
Stories,
Take Shelter) continues his
dissection of American rural areas, this time moving his focus to
the Mississippi River around De Witt, Arkansas. Our protagonists are
two industrious young teenage boys whose 1970s-ish wanderings and
day expeditions in the areas surrounding their more or less mobile
homes on and by the river one day make them stumble over a
mysterious stranger (Matthew McConaughey) living in a boat stranded
in a tree. The stranger, called Mud, needs help, and the boys jump
at the opportunity for some action and the chance of ending up with
the boat as a reward.
As
with Nichols' first two features, Mud is a film about regular
people with a below average amount of resources. What's different
here, however, is that these people come from an anything but
regular community; one where the extraordinary nature has become
part of people's identity in a manner that most other western
societies haven't seen in perhaps centuries. This environmental
portrayal, along with the character portraits that accompany it, is
Mud's strongest asset. This is where Nichols excels with his
deep fascination for and understanding of the differences in peoples
and cultures. Few filmmakers have been able to represent people's
peculiarities as realistically as he has done in recent years.
When
it comes to plot, Mud isn't quite as strong, and certainly
not as remarkable as his previous two films. There's a somewhat too
familiar mobster subplot and a romance at the heart of it which
never attains the heights it could have. Although the character of
Mud is both believable and interesting, his lengthy on-and-off
relationship with Juniper (played with some flimsiness by the
otherwise wonderful Reese Witherspoon) has a slight feel of plot
construct to it. Mud's predicament therefore comes off as somewhat
forced, even if the realization of it and the relationship between
him and the boys is both poignant and often beautiful. This coupled
with several other strong characters and relations, particularly
that between Ellis and his father, overshadows the plot's
shortcomings, however. Put differently, Nichols' skill as a director
trumps his script here, and the result is a film full of Nichols'
usual humanity, and with an extra dash of romanticism on top.
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