Last Sunday at the cinema I watched two movies, back to back: Guardian of the Galaxies 2 and Maudie. The contrast between films was “galactic”. The former movie was much as I expected: fast-paced, humorous, and entertaining. After all, who could have anything bad to say about Chris Pratt and his crew?
Maudie, by contrast, was a “small” film, with no galactic pretensions. Viewers were treated to an impressively tight and intimate script, focusing on a short period in the life of one obscure woman living in rural Nova Scotia.
Our first view of Maud suggests she might have some mental impairment; certainly she suffers from a physical one—her severe arthritis making it difficult for her to walk. We soon learn, however, that Maud has the heart of a hero. Rejected by her own family, she pursues her own path—finds a job when no one thinks she’s employable, gets married when no one believes she is marriageable and, most importantly of all, unlocks from within herself a talent for painting.
Here is a story that examines the human heart with great delicacy. The acting is superb. In the title role Sally Hawkins must surely be nominated for an Oscar. The performance of Ethan Hawke, as Maud’s husband, Everett, is almost as stellar. If one were to count the actual number of words spoken by Everett, they would be very few. Much of the story is told simply with body language.
Our first view of Maud suggests she might have some mental impairment; certainly she suffers from a physical one—her severe arthritis making it difficult for her to walk. We soon learn, however, that Maud has the heart of a hero. Rejected by her own family, she pursues her own path—finds a job when no one thinks she’s employable, gets married when no one believes she is marriageable and, most importantly of all, unlocks from within herself a talent for painting.
Here is a story that examines the human heart with great delicacy. The acting is superb. In the title role Sally Hawkins must surely be nominated for an Oscar. The performance of Ethan Hawke, as Maud’s husband, Everett, is almost as stellar. If one were to count the actual number of words spoken by Everett, they would be very few. Much of the story is told simply with body language.
Maudie reminds me in some ways of best picture nominee, Nebraska, from a few years back, a film I admired very much It also was a “small” film, one which owed nothing to special effects, and had no potential for spinoff merchandising. But it would be a mistake to under-estimate such films. Leaving the theatre after watching Maudie, I felt a little more human than I was before I went in, “connected” in a new and wider way to my species.
The great writer Leo Tolstoy, in distinguishing art from other human endeavours, insisted it must be “uplifting”. By this definition, Maudie is true art. It is a tale of love and endurance which prevails even against the cold of winter, the isolation of a rural community and a marriage which is sometimes abusive.
The great writer Leo Tolstoy, in distinguishing art from other human endeavours, insisted it must be “uplifting”. By this definition, Maudie is true art. It is a tale of love and endurance which prevails even against the cold of winter, the isolation of a rural community and a marriage which is sometimes abusive.
And yet . . . Maud Lewis paints. Pictures of flowers and cats and birds and horses—love— gushes from the tip of her paint brush. That this is a true story, makes it all the more poignant. This Canadian/Irish film is shot largely in Newfoundland. Those familiar with this magical island will recognize Trinity and Brigus in many of the shots. Somehow the fact that the film is so unabashedly local (not in some galaxy far, far away) paradoxically makes it universal—for what is more universal than an attachment to one’s home?
Not being a Hollywood blockbuster, this movie may not be as widely distributed as it deserves. But it’s worth the trouble to track down. Best picture I’ve seen in 2017! Go see it.