Wednesday, August 16, 2017
MAUDIE: PAINTING A LIFE
Directed by Aisling Walsh, starring Sally Hawkins as Maudie and Ethan Hawke as Everett Lewis
Midway through MAUDIE, while the little lady known as Maudie bends to her paintings, she absently closes the door on her husband, who lingers outside. It’s a tiny glimpse into the shifting polarities of their relationship as wife and husband. When she had first come to his tiny little home, she had been only a humble housekeeper, paintings disdained and rejected. But as they began to sell to customers passing by, she assumed an equal role in the household as breadwinner, while he was consigned to the cleaning and cooking. Both grow into their roles.
Thus does MAUDIE track these dual trajectories with one of a series of finely observed moments. It’s a quiet film but it makes a great sound. And as widely-heralded as Sally Hawkins is in the role of this arthritically-disabled woman, with her hunched posture, downturned head, and sly grin, we should give equal time to Ethan Hawke’s portrayal of the stoic, gruff, and not very likeable husband. Hawkins has already made her distinctive mark in several Mike Leigh films, including Vera Drake and Happy-Go-Lucky; and here she continues her chameleon-like gallery of roles. To be sure, the Ethan Hawke of HAMLET and Great Expectations has already proved his acting chops, but here, as the barely-literate Nova Scotia fisherman, he demonstrates how to say so much about his life and emotions with such finely-observed detail.
Pair MAUDIE with another portrait drawn from real life of a so-called “primitive” painter, Martin Provost’s Seraphine (2008), one of my very favorite films. In that powerhouse drama, we see another drab and emotionally-disabled domestic-cum-celebrated painter. In likewise humbling circumstances, she too attracts attention far beyond her circumstances. But in a marked departure from MAUDIE, Seraphine falls victim to exploitation in the art market. Worse, she succumbs to a mental deterioration and spends her last days in a mental institution.
Beyond their exterior likenesses, both films blossom into color with the paintings of both women. Maudie captures the stark simplicity of flowers and scenes from local life. Seraphine paints the flowers of the region and arranges them into intricate patterns. The paintings in both instances are produced through hardscrabble living conditions and with the most modest of tools. Despite their unlikely origins, the paintings provoke us with great power and poignancy.
Praise be to both films, not just portraits of two strong women who forged highly idiosyncratic images that both captured and transcended their worlds.
MAUDIE, unlike Seraphine, ends with a note of personal triumph. While Seraphine is consigned to an institution and sits alone, abandoned, at the foot of a great tree, Maudie graces her dying breath with her last words to her attentive husband, “I am loved. I am loved.” That is the triumph of both her and her husband. Like her paintings, is a starkly simple expression.