Red, White and Wasted

Red, White and Wasted is a 2019 documentary that presents a fascinating and eye-opening deep dive into a particular slice of Americana that often goes underrepresented on screen. Directed by Andrei Bowden Schwartz and Sam B. Jones, this formidable feature exhibits the life of Matthew Burns, a scrap metal collector, swamp buggy racer, and foremost, an unapologetic aficionado of mudding culture based in Orlando, Florida.

Mudding, for those not well acquainted, is a form of off-road motorsport taking place in water-logged dirt tracks or ‘mud bogs’. This subcultural phenomenon is not just a mere amusement in the American Southeast, it's a lifestyle, a form of escapist recreation burgeoning within the community that celebrates it with great enthusiasm.

The film demystifies this often stigmatized community, through the lens of Burns, a man whose life is steeped in mudding culture. For Burns, this pastime was more than just silliness in the mud; it was his lineage, his escapade, and his identity. However, the financial reality and the urban sprawl of Orlando starts to threaten the integrity of his unique subculture. As Mesquite lingers on its last legs, Burns grapples with an immutable progression that sidesteps the history and heritage of the very culture he loves.

The dynamic cinematography of the film captures everything from joyous mud-splattered scenes to the agonizing realities of the Burns family and the struggles that keep them going. Nevertheless, 'Red, White and Wasted’ never mocks or derides its subjects — instead, it lays bare the naked truth of the economically marginalized and the way they find joy, and a sense of community and belonging in their distinctive lifestyle.

The nuanced storytelling offers a compelling portrait of people, culture, and place. It is a study of individuals existing on the fringes of society, their exceptional lifestyle, their liberty, their alarming passion, and their untamed defiance. Yet, simultaneously, it never shies away from highlighting the class differences, ideological divisions, and racial undertows that the mud unravels.

The documentarians seamlessly weave an engaging narrative that definitely highlights the idiosyncratic mudding culture but does not restrict to it. The film also delves into the American South’s history, exploring the subtext of Southern heritage, political landscapes, the urbanization of rural America and its impact on this singular subculture. Moreover, the film explores the economic plight and everyday struggles of Burns family pitting against rampant consumerism and invasion of corporations, which makes the narrative even more compelling.

Matthew Burns himself, with his chores, despair, vulnerability, and indomitable spirit, proves to be an absorbing subject. He is a microcosm of the community that the film portrays - brittle yet resilient, obstinate yet adaptable, silent yet articulate. His candid anecdotes, disarmingly simple wisdom, and endearing zeal render him to be a captivating protagonist that the audience can root for and empathize with.

In summary, 'Red, White and Wasted' is not just about mudding spectacle or the untidy, rowdy people who indulge in it. It is a touching human story that paints a picture of an obscure yet vibrant culture fighting to sustain its existence. It provides a rich, intricate snapshot of a way of life that feels increasingly endangered. This film grasps the essence of this niche community and conveys it in an engaging and sensitive way, making us aware of a world we never knew existed. It is not designed to be a feel-good, entertaining film, but is instead an honest conversation about the "wasted", their culture, their hardships, and their celebratory zeal. With its atmospheric setting, intimate storytelling, and unflinching realism, 'Red, White & Wasted' is an enlightening exploration of subcultural America which encourages us to understand, rather than judge, a world far removed from our own.