Mudbound Soundtrack Review: This is a review of the film score Mudbound by Tamar-Kali Brown.
At a glance:
Geek Score: 56
Total Minutes Of Excellence: 0
Album Excellence: 0%
Mudbound is a 2017 American period drama film directed by Dee Rees and starring Carey Mulligan, Garrett Hedlund & Jason Clarke. It is based on the 2008 novel Mudbound by Hillary Jordan. In the winter of 1946, Henry McAllen moves his city-bred wife, Laura, from their comfortable home in Memphis to a remote cotton farm in the Mississippi Delta — a place she finds both foreign and frightening. While Henry works the land he loves, Laura struggles to raise their two young children in a crude shack with no indoor plumbing or electricity, under the eye of her hateful, racist father-in-law. When it rains, the waters rise up and swallow the bridge to town, stranding the family in a sea of mud. As the McAllans are being tested in every way, two celebrated soldiers of World War II return home to the Delta. Jamie McAllan is everything his older brother Henry is not: charming, handsome, and sensitive to Laura’s plight, but also haunted by his memories of combat. Ronsel Jackson, eldest son of the black tenant farmers who live on the McAllan farm, comes home from fighting the Nazis with the shine of a war hero, only to face far more personal — and dangerous — battles against the ingrained bigotry of his own countrymen. It is the unlikely friendship of these two brothers-in-arms, and the passions they arouse in others, that drive the story to its tragic conclusion. The score is composed by Tamar-Kali Brown.
I have a feeling that this might be a soulful experience as the humming on ‘Mudbound Theme’ is completely stuck in my head, and this is not a bad thing. At least it’s something different. The worrying part is the rest which is strings mostly, but it’s the way they are used which worries me. The various stabs and rhythmic portions doesn’t really appeal to me. The extremely dark string work is a bit strange as well. Is it supposed to be scary? Or tense? It might be tense, but it’s rather annoying rather than effective. However, all might change if and when I see the movie.
On album though the music is quite uncomfortable to listen to and that might be exactly what Brown was after and if so, it’s very succesful. Maybe this could work if it was a kind of horror film? Maybe it is a horror film and I don’t know it. But it’s not all bad though. When Brown is making some nice lyrical music with his strings then it’s a lot better, but it’s still lacking a lot to even become something that I can truly enjoy. It’s a strange one, but I’m curious what you think of the score.