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  • caroseraie22 July 2017
    For me, this is the reason I go to the movies. Always in the expectation that when I walk out of the theater I simply will not be touching the ground. This does not happen frequently, but with "Maudie" the magic occurred. An amazing story eloquently told. Sally Hawkins is superb, touching and profoundly human. Ethan Hawke is at his best. There is a believable chemistry between these battered beings. When they do take flight, they soar over this crude grandiose landscape so beautifully captured on film.

    It's early, but the award community have a sure bet in this unforgettable gem.
  • It's a long time since I've seen a film as affecting as this (principally because it isn't emotionally manipulative, which I always resent). Instead it just tells a simple tale of simple folk living in simple times, between whom love eventually blossoms against the odds. It's also a sobering reminder of how hard times were in the early 20th century in rural communities, where gossip and malice were endemic, people worked their fingers to the bone and there was no room for sentimentality. That very unsentimental ethos permeates the film, though of course in many cases it tips over into cruelty, and the cruelty Maudie suffers is at times unbearable. Yet for those tempted to walk out, stick with it because her life improves and she evens starts to smile a bit, once the art therapy kicks in. Take a box of Kleenex, expect to feel humbled (and never to complain again about your affluent neuroses). Beyond that, both leads (Sally Hawkins and Ethan Hawke) are great, and the photography of Newfoundland & Nova Scotia is beautiful, capturing the seascapes and landscapes in the brilliant light.
  • When you are compelled to write a review, and you realise this is your first ever review of a film, you then understand the impact that a true classic has.

    Sally Hawkins, Ethan Hawke, well done! If you want to sit down to a less than fast, but utterly embracing film about life's journey, and how individuals are valued, how they react to outside pressures and put their whole world at risk, then this is the film for you .

    Simply.. Brilliant.
  • Warning: Spoilers
    Maud (Sally Hawkins) is different...and she's been treated as someone who is not only different, but not capable. Having had enough of this, she ventures out on her own and takes a job as a housekeeper for a local fish monger (Ethan Hawke). The two have an unusual relationship, but like knots in a rope, they work themselves out and they find a strong bond. Her artistic skills are allowed to flourish and thanks to the keen eye of a summer resident, her popularity grows.

    "Maudie" is one of those films that just makes you feel good throughout its entirety. Even with the harsh realities that seem to be inflicted upon Maud, nothing can quell the light that shines so brightly from within this effervescent woman. She's smart, witty, and talented, all blanketed by her shyness and humble attitude.

    This is a beautiful film, from the style to the narrative, creating what we love about going to the movies...it pulls you into the story, allowing you to truly care, connect, and love the characters, and in the end, have knowledge about a remarkable artist.

    I haven't been this emotionally connected to and moved by a film since "Philomena." With exceptional performances and a well-told story, this is a film not to be missed.
  • What a good film. And most impressive is that it is actually based on a true story (sorry, I haven't done my research before the film, so when the documentary bits came at the end, I was like No way, that was actually for real!). I am not sure it can really be called a "feel good" movie - life wasn't that easy for her. But it will certainly warm your heart with a big and powerful message that we don't really need much to be happy.

    Sally Hawkins was absolutely great. With that shy but ready smile and wondering eyes. Although I felt kind of sorry for the way they portrayed her husband. Not sure if he was as brute in real life as they made him. Not that I know, of course, but it felt too much (and he looked smiley enough in the documentary bits). Also, I'd say the editing was not as smooth as it could have been so felt rather amateurish overall, but maybe that was intentional.
  • eclarkdog1 July 2017
    Folk Art is art that is not defined by your traditional academic notions of what art should be, whether technical or aesthetic. Folk is an old word, from old high German, basically meaning people in general.

    "Maudie" is a movie about folks, especially one very important central figure who happens to be a folk artist. Maud Lewis is her name, and it's very likely she never classified her art by any term whatsoever during her life, much less folk art. Her art is just something she did.

    "Maudie" is a sweet little biopic movie that at times is a bit disturbing. The disturbing aspects are subtle. The creators/directors gloss over some of the finer points of her life, with some alterations of the truth. However, the important questions are asked, literally, during the movie. It's up to the viewer to see these aspects, or not, and take them for what they are. Your reactions or discernment thereof may depend on prior knowledge or research of the subject.

    What is clear from almost the outset the movie, is that Maud and her husband led a difficult life - not quite but almost abject poverty. Yet Maud filled her life with beauty through her art. Flickers of relative fame touched her life briefly, but it was not until well after her death in 1970 that full appreciation was recognized, not that she really cared about these things.

    "Maudie" is a small movie with big performances by the mains, especially Sally Hawkins. In my opinion, her performance as Maud is the best this year so far, but I can guarantee right now that you will hear her name come Oscar time next year. Ethan Hawke is also exceptional as her husband Everett, although the role itself is a bit more static. The supporting cast - mostly unknowns - does well in more cardboard cut- out roles, but Matchett, a Canadian actress who you might recognize from some American TV roles does a nice job as one of her earliest patrons.

    Will you like this movie? I don't know, but I loved it. It is what it is, not an action movie, but a small art-house drama/biopic of a very interesting and amazing person who lived most of her life in obscurity. This movie affected me not just during the viewing, with tears streaming slowly down my face, but well after. The tears that came were not only sad but also from joy at her creations, but most of all they stemmed from my belief that beauty and sweetness deserves beauty and sweetness and, well, Maud had very little of that in her life.

    Many biopics have been made of famous people that rose out of obscurity or extremely challenging situations or disabilities to achieve greatness and renown. What really interested and touched me about Maud's story is there was no rise.

    (Interesting side note: Maud sold her paintings during her life for a few coins to a few dollars at most. Now her paintings are selling for six figures)
  • Ethan Hawke, and Sally Hawkins, Some of your facial expressions speak volumes! Masterful acting!!!

    Excellent location, photography and filming. So many amazing scenes.

    Great writing; true-to-life love story.

    Superb directing and rhythm. Sweet balance and flow.

    Thank you, everyone involved, for a 'perfect' movie!

    A movie like this makes up for a lot of other crap out there.
  • Although shot in Canada, and although it is about a Canadian, I don't like affixing the term Canadiana to it. It is a Universal movie about the indomitable spirit that some people possess even when faced with horrendous turns of fate. Sally Hawkins is incredibly good as Maud and Ethan Hawke does a superb job of playing Everett Lewis. Hawkins has the accents , the movements, the wry smile and the light that just won't stop shining. Hawke's performance is very nuanced: his character was an emotional cripple and he was violent, but we also know how much he loved and admired his wife. It was a time when dirt poor men asked for nothing, did whatever they must to survive and didn't allow expression of feelings in their lives. Many reviewers have called him "vile", but he could have been a miner, for example, anywhere in the world as easily as a fish seller in Nova Scotia in 1930. I think Ethan Hawke did an amazing job of capturing that man. It has great cinematography, excellent score and a minimalist script that allows, through actual superb acting, to get to know a pair of characters in a movie like never before. Don't miss this one!!
  • popcorninhell29 July 2017
    There is quote by Kurt Vonnegut that comes to mind when I think of Maudie, the latest film based on the real life and times of an artist. "Practicing an art, no matter how well or badly, is a way to make your soul grow, for heaven's sake. Sing in the shower. Dance to the radio. Tell stories. Write a poem to a friend, even a lousy poem. Do it as well as you possibly can. You will get an enormous reward. You will have created something." That may sound like a backhanded compliment but if Maud Lewis was portrayed accurately in the film, I doubt she'll mind. To her painting wasn't a source of ego or pride. It was something she just did - to make herself happy - and if it made others happy all the better.

    The film picks up with Maudie, played with understated sensitivity by Sally Hawkins, as she struggles and fails to earn the respect of her family. Despite her severe arthritis, Maudie answers an advert for a live-in maid and runs away. She moves in with and eventually marries the crotchety Everett Lewis (Hawke), a fishmonger who manages to put on a grim smile but once over the film's 40+ year time span. After a time living in Everett's dimly lit squalor, Maudie relights her passion for painting using abandoned cork board and the walls of her new home to paint continuously.

    The true-life Maudie was eventually considered Canada's most popular and prolific folk artist; though one could hardly tell given the solitude that follows Maudie throughout her life. In the film, she remains isolated, largely due to her debilitating arthritis and painful shyness around strangers. There's one awkward scene early on where Maud struggles to shuffle out of a doorway and stick her head out long enough to compliment a woman's shoes. In that moment we realize her deep desire to be both accepted and left alone.

    The film aptly compliment's the artist's own frailties and unconventionality with a strikingly brittle and unconventional love story. Maud's warmth towards Everett is sincere and unconditional. She sees in him, a beautiful person - an outcast like her who has been made wild by the cruelties of life but nevertheless deserves her love. As open as Maudie is to the inner-beauties of a warm sunset, Everett remains as cold and brutal as a winter storm. Yet every time he "puts a foot down," he wordlessly capitulates. He grumbles and erupts in objectively despicable behavior but Maud always seems to convince him that he's capable of love and being loved.

    The film continues down this path of bittersweet co-dependence and as the relationship develops, we see the results of Maud's patience and virtue. Thanks to the remarkably assured cinematography of Guy Godfree, the film crackles with natural beauty and warmth of a cozy hearth. There are some truly breathtaking natural vistas on display here, which despite their expanse manage to feel intimate and idyllic.

    As a film Maudie is certainly within the ranks of Mr. Turner (2014), My Left Foot (1989) and Lust for Life (1956). Much like those films, Maudie centers on the life of a tortured artist whose personal story tells something truly meaningful about the human condition. It also has a truly award-worthy performance by Sally Hawkins who is at this point in a class of her own.
  • sammiewalketalke21 October 2017
    At first i want to say that this is my first review and i'm pretty exited to talk about this amazing film.

    What i liked most about this film is that it's just as beautifully filmed, acted and told as the paintings Maud painted.

    I loved the cinematography in this film. If you're a fan of cinema I'll bet you'll like it.

    The acting is also incredible. Sally Hawkins and Ethan Hawke are amazing in this film. the rest of the cast is really good as well.

    This is easily one of the best drama's out there. So i suggest you watch it.

    I want to tell you more but it's better to see for yourself.

    Thanks for reading this (short) review
  • Warning: Spoilers
    MAUDIE (2017) **** Sally Hawkins, Ethan Hawke, Kari Matchett, Zachary Bennett, Gabrielle Rose, Billy MacLellan. Poignant and wonderful biopic about Canadian artist Maud Lewis (a compelling portrait of restraint and heart-break by an Oscar worthy Hawkins), whose broken winged dove of a human being, finds herself finding herself when she is ousted from her family's home by her jerk brother and selfish aunt. Seeking employment and a place to live she becomes the unlikely companion to gruff worker Everett Lewis (well-crafted job of nuanced grouchiness by Hawke) who eventually falls in love with the truly lovable and humble Maudie. Filmmaker Aisling Walsh does a remarkably efficient job in her big-screen debut after cutting her teeth on television balancing the possibly maudlin and mawkish instead with undeniable warmth, compassion and skill. Guy Godfree's lovely cinematography and the gentle score by Michael Timmins are on point. One of the year's best films.
  • My favourite film so far this year : Sally Hawkins is mesmerising as Maudie and gives a performance,which is truly Academy Award worthy. Ethan Hawke is equally good as her crusty damaged husband Everett. He describes their relationship as " two odd socks "and they fit perfectly together with quite a few holes. If you get a chance this is a not to be missed movie it's like a Mahler symphony and is quite inspirational. So grateful we have Mt Vic Flix in the mountains if it wasn't for their existence we wouldn't see quality cinema. You don't need a mega budget or Hollywood for that matter to produce a gem of a movie.
  • zif ofoz6 September 2017
    I believe what makes this film a delightful experience isn't so much the story but the brilliant performances by Sally Hawkins and Ethan Hawke. As the two main characters Maud & Everett these two actors become the characters they are portraying.

    Here is a simple story of two socially inept people that find one another and experience all the joy, anger, heartbreak and peace that goes with love. The setting is both beautiful and bleak - just like Maud & Everett!

    Anyone who is incapable of getting emotionally involved with these two and their story as it is being portrayed on screen has an emptiness in their heart.
  • This film tells the story of a woman who had arthritis. Her family thinks little odd her, but she makes a world for herself by becoming a respected and popular artist.

    "Maudie" is hard to watch because I find her life very depressing. She is physically, emotionally and financially abused by her husband, which makes me so angry and sad. Yet, she is remarkably resilient and positive. I applaud her for that. It breaks my heart to hear how her mother appraises the situation and comes up with the conclusion that Maud is the happiest person in the family. If that was the case, then that party of the world at that time must have been pretty bleak.

    I find the film haunting because emotions linger in me after I finished. It's depressing, and makes me value what I have even more.
  • I will keep this very short so all of you who might be reading it will be able to start watching this pearl of a film as soon as possible.

    This is a beautiful, emotional, intimate, performance driven film that tells a story about two people living on the fringes of society where they still manage to find love and bring colors to the bleak environment that surrounds them. Ethan Hawke and Sally Hawkins deliver stellar performances that really make you care about and love their characters.

    When you finish watching it, tell about and recommend Maudie to as many of your friends and family members as possible, the ones you know will really appreciate great filmmaking so it gets as much recognition as possible because it really deserves it.
  • Warning: Spoilers
    An Irish director casts a British woman and an American star in the — thus — quintessentially Canadian film about a national treasure, Nova Scotia folk artist Maud Lewis.

    As a woman and as an artist Maud is a heroically resilient figure. She survives life with a brutish husband, accepting a succession of indignities, some outrageous. Gradually she establishes her own rights, identity and even name. Though crippled with arthritis, Maud becomes a famous and esteemed artist. (Now you can add "expensive" — those little five-dollar painted boards go for $9,000 at the gallery.)

    As her craft advances, her domestic status improves. Husband Everett gradually assumes the Womans Work — sweeping, peeling, darning — so she can earn money with her art.

    Maud's art is gloriously naive. It springs from her wistful imagination more than from her actual environs. It's the triumph of spirit over perception. If it's representational it represents the figures teeming in her imagination not those actually outside and around.

    In rough parallel, she stays with vile Everett because she sees more in him, a softer self, than not only we see but that he himself doesn't sense. She dies knowing he loved her — despite his never having said anything like that, or shown it, or indeed ever acknowledging it even to himself.

    But the feeling does out, even if it's in the subtle shift from her walking behind him on the horizon line to him pushing her in his wheelbarrow. Love takes many forms. As does art. And marriage.

    Perhaps Everett's most loving act is taking her to espy her daughter, whom Maud's family took away and sold, telling her the baby had been deformed and died.

    The film's dominant palette is the grey gloom of cramped unlit interiors and a hard scrabble, penurious life. The fish seller makes so little that five cents for a painted card becomes a windfall.

    The point about that unrelieved darkness is Maud's response to it: flowers and animals painted in bright, unmodulated colours, a brilliance that her crippled hand uses to express her indomitable, spirited soul. Because she has spent her life in the shadows — from the shame of a humiliating pregnancy and helplessness to Everett's abused cleaner — she finds in art the joy and brightness of life. It proves contagious.
  • Warning: Spoilers
    Painting in Nova Scotia! With arthritis! Sounds riveting, doesn't it? No, not really. So I was a little surprised when Maudie, a Canadian production, was getting international attention and even Oscar buzz, with its international cast. It's actually an Irish co-production, continuing an apparent marriage following the two countries' Room and Brooklyn (both 2015).

    It's more apparent, upon seeing the film, what the appeal is. Maudie is a solid drama, with strong performances by Hawke and Hawkins (don't get those two surnames confused). Hawke is challenged to be brutish with deeply hidden tender undertones, and largely succeeds, though with the character's violent tendencies I wouldn't exactly characterize the film as romantic, and would advice Maud Lewis to split. Hawkins simultaneously acts crippled, while maintaining shades of optimism and slyness, a somewhat similar challenge to what got Eddie Redmayne an Oscar as Stephen Hawking (another surname not to confuse). The paintings we see range from charming and cute, at best, to childish and bewilderingly popular, at worst. It was also refreshing to see a true-story movie without the mandatory captions at the end telling us about what happened to the survivors and to Lewis' posthumous artistic reputation, because I'm getting sick and tired of that. The performances, plus gorgeous photography of Newfoundland coasts and virtually anything else that comes into frame, make Maudie a winner.
  • "The whole of life, already framed, right there." Maud Lewis (Sally Hawkins)

    Maud Lewis was a pioneer of the Art Naïve school of folk painting flourishing all over, especially in Canada, and specifically here in Nova Scotia. The quote shows how natural her genius was looking out a window from her 10x12 foot home.

    The biopic Maudie thrives on Hawkins' superior acting talent that superficially shows her deformed leg, her debilitation from arthritis, and her emphysema doomsday from smoking. Yet she radiates joy and a keen eye for the simple beauty of life. As she tells her husband, Everette (Ethan Hawke), she doesn't need much.

    With no formal artistic training, Maud initially uses a finger to paint a tulip with vibrant colors. She barely looks back as she paints chickens, dogs, birds, and "things," all observed inside and outside the humble cottage on doors, windows, boards, and whatever.

    The pain most artists experience in order to express beauty comes for Maud not just from her physical handicaps but from her husband, a rude fishmonger and wood chopper without a lick of humor. He begrudgingly allows her to sell her paintings and pockets the proceeds. However, he loves her in his own crude way and provides the home, albeit no more than two rooms, that spawns the art.

    Cinematographer Guy Godfree captures the sweep of open nature that surrounds the town and the intimately colorful interior transformed by her art. John Hand's production design makes her cottage so meticulously authentic that you might wonder if he borrowed it from the Nova Scotia museum that now houses

    it.

    Beyond the pleasant bio of a charming painter, the love between the two is one of the best romances of the year. It could be because theirs is hardly conventional or because Hawkins and Hawke are super actors. Or both. Love abides, and as Everett says, "There's me. Them dogs, them chickens, then you."
  • olgayaleo72923 November 2017
    ...perfection as it gets. i do not understand how the previous reviewer could have found it "choppy" and "amateurish", albeit having loved it. the only thing that keeps this gem from being perfectly faceted is that the idiot producers chose to delete some extraordinarily relevant and poignant scenes (yeah - every one of those) that could have added more insight into these two individuals, as their own persons and as a couple. as well, this is some of the most incredible acting i have seen in recent years. hawkins and hawke are phenomenal. she is underrated and underused - i have seen her perform in such a breath and range of movies as to leave me incredulous that the world is grabbing her up more. and her portrayal of this unique and gifted human being is as heart-grabbing as it gets. as for ethan hawke, this is his pinnacle - sublime performance with such nuances of feeling, gesture, expression as i have witnessed few times. the cinematography and score are all beautiful - why wasn't the soundtrack released on cd?? if this film doesn't sweep the Oscars, Hollywood will lose all credence for me.
  • Maud Lewis today is one of Canada's best-known primitive painters—quite an accomplishment for a poor, chronically ill woman from a townspeck between the Bay of Fundy and St. Mary's Bay. This charming film, written by Sherry White and directed by Aisling Walsh, tells her story. At least in the way that biopics do, leaving you wondering, was Maud's husband really so prickly? Did they really live in a tiny one-room house? Further research indicates the answers to those questions are probably not and yes. Maud suffered from painful juvenile rheumatoid arthritis, which may have stunted her growth, and an equally painful awkwardness in social interactions. In marrying Everett Lewis, she finds a man even more emotionally and socially stunted than she is. I can't say enough about how beautifully Sally Hawkins and Ethan Hawke play these odd characters. Physically, it had to be a taxing role for Hawkins, because Maud walks with difficulty and, as time passes, becomes more and more bent over. But a wide smile comes readily to a woman who can look at a window and say, "The whole of life, already framed, right there"—both to Hawkins and in photos and film of the real-life Maud. They find each other when Everett looks for a woman to cook and clean his one-room house while he runs his fish-peddling and junk collecting businesses. Maud is looking for an escape from under the thumb of her judgmental aunt. When he advertises for help in the general store, this tiny woman appears on his doorstep. She brings order to the house, but Maud's real desire is to paint. She starts by decorating the walls of Ev's house, then scrap construction materials he's brought home. From there, her career as an artist blossoms like her paintings, but since they charge about $5 per picture, it never makes them much money. Maudie is an uplifting story about a person who made the most of her gifts and whose efforts were recognized in her lifetime, far outside their Marshalltown, Nova Scotia, home. Because she had modest goals—"I've got everything I want with you, Ev. Everything."—she found tremendous satisfaction and joy in her life, despite its challenges. (Many of Maud Lewis's paintings are now in the Art Gallery of Nova Scotia, as is the Lewises' actual house, restored after the Gallery acquired it in 1984. In May 2017, a Maud Lewis painting sold at auction for $45,000.)
  • A biopic of the arthritis-inflicted Canadian folk artist Maud Lewis (1903-1970) from Nova Scotia, directed by Irish female director Aisling Walsh, and starring a transmogrified Sally Hawkins as the scraggly Maud and Ethan Hawke as her fish peddler husband Everett Lewis.

    In the abstract, Maud's life is hardly newsworthy, there is no oceanic discrepancy before/after she accrues a certain renown (Richard Nixon is interested to acquire one of her works), she and Everett have never moved out of their pokey cottage. To all intents and purposes, Walsh remarkably skates over the theatricality-ready liaison between Maud's physical defect and her immeasurable talent, the disability is a congenital condition for her to inure, a cross to bear but never her defining feature, and it is up to Hawkins' diligent yet histrionics-free incarnation to ram home to audience her distinct physical form is part of the furniture of her identity, it never deters her life-long pursuit.

    What undergoes a fine-tooth comb is Maud and Everett's complex relationship, the jumping-off point of their co-habitation is out of pragmatism other than anything remotely affecting, he wants a housemaid and she wants to slough from the clutches of her officious aunt Ida (Rose). For Maud, it is a precarious gamble because she throws herself on the mercy of Everett, who grudgingly takes her in (initially appalled by her unsightly appearance) and belittles her in the lowest rung in his bare-bones household: him, dogs, chickens, then her. At one point, Maud can only squeeze some wry but ironic laughter after being referred as "a love slave" of Everett, she is a slave to him without question, but there is no love involved.

    Maud's tremendous effort of thawing the illiterate Everett's unsavory make-up (inarticulate, churlish, penny-pinching, machismo… you name it) offers a most therapeutic, wholesome and alternately heart-warming/heart-wrenching narrative arc by virtue of writer Sherry White's sensitive, sensible and no-hyperbole script; Walsh's unobtrusively observant tack against a muted but fetchingly beauteous scenery; soothing ear-worms (e.g. Lisa Hannigan's LITTLE BIRD) and needless to say Hawke and Hawkins' stupendous performances.

    Hawke is unexpectedly against type to give an uncouth Everett a humane transfiguration that mostly hinges on ineffable expressions, a look, a mumble, a gesture, greatly pins down a reticent man's innate foibles but also his rough diamond sheen. On the other hand, Hawkins, formidably sinks her teeth into the character body and soul, a vivid impersonation of an enabler, a fighter and most of all, a human whom we can all vicariously project ourselves in on different levels, a true testimonial of why humanity is still worthy of redemption and sympathy in our cynical world.

    Maud's last word is "I am loved", and MAUDIE is a treasure trove where love can germinate from a most barren place, a superlative folksy delight and heartening character study, kudos to those talents who are involved in the film's timely genesis.
  • cultfilmfan10 June 2017
    Maudie, the new film about Canadian artist Maud Lewis, is at times a disturbing watch, but as a whole it is a very fascinating film on a number of different levels. Before, I went to see this new film, I looked up various pictures and images of Maud's different paintings and I honestly have to say that a lot of what I saw I did like. I am certainly no art critic and do not pretend to be one either, but with Maud's paintings I found myself loving her bright use of primary colours as well as the sometimes very simplistic style she used to paint with and I found this further enhanced her work by not being overly flashy, or showy, but instead it has more of a primitive almost at times childlike style, or way it was done, but instead of looking amateurish it instead highlights her grand use of colours and accentuates what she is painting and gives the whole thing a very pleasing look that I think words like bright, or happy could definitely accompany her body of work. Needless to say with the examples I saw online as well as the pieces that were showcased in this new film, I would consider myself a fan of her work and if I was to come across one of her pictures in a store, I would definitely consider buying it and hanging it up with my other collection of prints by various other modern artists. The other fascinating thing about this new film are the characters of Maud herself and her husband Everett Lewis. Both are complicated characters in a lot of ways and while at times their relationship is sometimes very difficult to watch, there is also a certain tenderness and mutual admiration that these two characters have for each other, even if they do not show it openly, or as evidently as perhaps most people would. Maud, is often hunched over and has a lot of difficulty walking and performing everyday tasks from what we later learn is arthritis, but I would not be surprised if there were other factors involved in this as well. Maud also has a certain childlike way to her as well. Sometimes she can be downright stubborn about a certain situation and at times she can also be very socially awkward and at times could easily mimic, or be confused with someone struggling with any number of types of autism. At other times she seems to have a general rosy type view of things and for the most part she seems to be a pragmatist and tries to look on the brighter side of life and in a lot of ways she will often forgo her own feelings, or wants to the extent that she is always willing to please and often puts her own happiness aside to please others. Everett, on the other hand is a man who seems to be extremely rough around the edges. Whenever we see him he mostly has a huge scowl on his face and looks unhappy and pretty much is angry and bitter a lot of the time. This causes what is a lot of the dysfunction, or at least what appears to be difference from the norm in his relationship with Maud. Everett, we learn was most likely an orphan and most of his life he seems to have been away and never truly gotten to integrate himself into life with other people, or mastering the terribly tricky thing of human relationships and even the basic levels of how to interact with other people. He often seems like a very self centered and sometimes downright cold and mean man. However as the film goes on we definitely do see his relationship with Maud tested on a number of different issues and yet they are always sticking by each other no matter what situation may present itself. Deep down I think they both had a sense of love for one another. It may be different than what most people would consider love, but I think it was still there even if it was hard to see at times. The performances by Sally Hawkins and Ethan Hawke are terrific and give much depth and also much to contemplate after watching them perform as these characters and they also do a fine job of establishing just how complex these people were. The body language, facial movements and mannerisms are all done to perfection and these are certainly two performances that will be noticed come awards time next year. I also like how the film did not sugar coat, or suggest an easy life for either of these two characters, but instead shows you them in the best and worst of times. The art aspect and Maud's paintings also make for intriguing viewing, but what is most evident to me here is a story of two polar opposite people trying to make a go of it and perhaps doing better than most people could say of their own relationships. Certainly food for thought and an intriguing notion the film leaves you with which is one of it's truly commendable qualities as well as being a great biopic, but more than that a truly unorthodox relationship that may be difficult to watch at times, but certainly is rewarding as well.
  • Never seen an entire movie dedicated to the theme of the heroin. Ethan and Sally acted superbly. The photography and the cinematography were by far exemplary. notice how each shot is a frame or artwork by itself. Most of the shots were landscapes, Nature, Real Life Events, Weather, Homes, Portraits, Close Ups. Amazing direction and team work. Choreography, colors, the simple art forms and art work appear easy to copy and reprint. Wonder why the producers did not give away prints of the art work displayed in the movie.Why weren't the art work commercialized for crying out loud. simple hard working folks who often overlook impairments and treat each other as humans. Ethan on one hand a veteran who feels grateful for the home left behind by his deceased officer of command. Even with his PTSD he work very hard daily doing two and three different activities to raise money to survive. At a time when he need a helping hand, he decides to choose a crippled women who probably has some form of cerebral palsy but he never makes it a point to treat her as an handicap. His sincerely but absurd attitude in fact helped the heroin to achieve limitless success. A movie that parents should be able to take their preteens for education in life. A memorable piece of movie art. I give it 8
  • Sally Hawkins plays Maudie Who was born physically challenged. In order to prove she can take care of herself she answers an ad pinned in the local store by Everett Lewis played by Ethan Hawke to be his somewhat live-in maid, and they end up being each other's soulmates. Despite his horrible behavior she actually thrived as an artist living interdependently with him.

    Hawkins and Hawke made a great team. It was a compelling relationship to watch unfold on the screen. It was a small and quiet movie and depended on how good these two acted with each other, and they were so good, I loved them both and the people that they played.
  • Warning: Spoilers
    At first glance the film Maudie (2017) appears to be little more than a story about famous Canadian painter Maudie Lewis, an arthritic woman who painted childlike images in early 1900s Nova Scotia. But this description is far too simple. The slow visual and emotional delights of this film are the kind that catch you unawares while you are waiting for the narrative to gather pace and reveal a bigger story.

    It is no spoiler to say that there is no bigger story: it's all about small detail. The opening scenes show a crippled hand barely able to hold a paintbrush, slowly etching the outline of a flower then filling it with vibrant colour. Some may call it childlike, but Maudie (Sally Hawkins) paints the world that she wants to see, not the one where children throw stones at her because she is different. An orphan mistreated by her aunt and brother, she is determined to break out, find a job…just be normal. She responds to a housekeeper advert and meets surly fishmonger Everett (Ethan Hawke) who is too inarticulate to send her away. He lets her stay in his one-room timber shack but makes it clear that he regards her as lower than a farmyard chicken. He is brutish and coarse, while she is determined to see good in him. Despite her mistreatment, they form an unlikely bond and Everett allows her to paint flowers and wildlife on his drab walls. Her talent is noticed by a well-heeled New Yorker who surprises them by buying some paintings. Maudie paints more, interest grows, Everett does housework to allow Maudie to paint, and over time she becomes an internationally famous artist.

    This simple tale is strewn with beautiful small moments. There is a simple purity in seeing a hunched figure with withered hands slowly creating a bright pretty world with gentle brushstrokes, then smiling at what she sees. Maudie has a natural gift for finding warmth and happiness in alien places. A particularly touching moment is when Maudie learns the real fate of the baby she had lost at childbirth many years before. Despite the apparent differences between the optimist Maudie and the belligerent Everett, the two of them slowly evolve an emotional inter-dependency. Sally Hawkins fills her role with extraordinary expressiveness: with just a raised eyebrow or a wry turn of her lip she emotes with brush-like precision on the audience's emotional canvas. Ethan Hawke is excellent in playing an emotionally stunted man of few words who communicates through body language and grunted vocal tones. With minimal dialogue, so much that is not said is felt clearly.

    The film's fine grain is not its only strength. The cinematography of Nova Scotia village life seamlessly shifts from the landscape's natural beauty to close-ups of Maudie in pain but smiling elfishly as she finds good in all. Some may find it slow-moving, but the storytelling's gentle pace is perfect in this portrait of a gentle artist.
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