HOME Pick of the Week: Mississippi Grind

Amidst a cloud of smoke in a run down bar, accompanied by bright neon lights and southern blues music permeating the room, you will find men of a certain kind. Either gamblers or simply failures of life, they linger for hours upon end with a small glass of bourbon at their fingertips. Clearly, these men are masters of their own fate, and that is no different to Gerry (Ben Mendelsohn) in the latest release to contribute towards film’s obsession with gambling: Mississippi Grind.

Following two gamblers, Gerry and Curtis (Ryan Reynolds), upon their quest into The South to the big time of wealth, Grind portrays the darker side of poker, cards et al. Gone are the days of bright lights, sparkling watches and elegant suits. Gritty and real, Anna Boden and Ryan Fleck’s world is a stark contrast to that of Martin Scorsese’s Casino (famous for it lavish sets and costume). It also harkens to an old type of film making, prevalent in the 1970s.

Downbeat on life as a whole due to his financial problems, Mendelsohn’s Gerry owes money to everyone and everything in his town. Cumbersomely holding himself together, he participates in a local poker game to casually affect. Like a lucky little leprechaun, Reynolds’ Curtis walks in gleaming with charm and wit. The two strike it off in an instant and a form of bromance ensues. Long takes and a road trip take to the centre of this tale.

No quick cuts or editing exist in Boden and Fleck’s piece. The actors’ relationship is electrifying through their mutual obsession with winning big. Gerry’s ploy is one of sheer desperation in his attempt to pay off his debts, whereas Curtis’s involvement is, however, unknown. Due to their conflict of interest, an abundance of suspenseful scenes spread across the board, and, in particular, the finale.

The film opens with a stunning shot of a rainbow arching over farmland. Both of these men are searching for that famous pot of gold at the end of the colourful meteorological wonder. Elements surrounding Grind could insinuate that the film might literally be read as a rainbow; Gerry creating the rain and Curtis being the sunshine, as so reflected in their personalities.

From a cinematic perspective, cinematographer Andrij Parekh delivers an eye-catching exploration of Southern American at its core. From establishing shots of simple street lights brightening New Orleans’ streets to the neon night, as captured so astonishingly in Fincher’s Fight Club. To accompany the jaw-dropping cinematography is a gutsy, growling musical score that echoes true music of the south. From Blues to Jazz, the variation of music is used as a tool to suture oneself into the environment of these broken men.

Like the Mississippi itself, Grind is alluring and winding in the best possible sense. Films like this are very rarely made in this modern age, and so among this week’s releases, I command you: Search it out. Find this ace of spades.

4/5