Sally Hawkins and Ethan Hawke give humbling performances portraying a real life couple, who find happiness in each other. Finding happiness and how we frame it is the subject matter of this story based on the primitive artist Maud Lewis. Lewis ( 1903-1970 ) is Canada’s most famous folk artist. Physically, she suffered from polio and childhood rheumatoid arthritis. Emotionally, she suffered from a family who made decisions expediently that excluded, yet greatly affected, her.

The pace is slow. The cinematography lovely. Nova Scotia with its isolation and stark natural beauty surround the shack where Everett Lewis ( Hawke ) salvages materials and peddles fish. Cinematographer Guy Godfree frames everything like a canvas. Windows and doors, screened and otherwise, filter soft light as a way of being free to see the world as we choose. Filmed in Ireland and in Newfoundland, Godfree and Director Aisling Walsh give us juxtaposition between the small world of  Maud and Everett and the natural world at large.

The late 1930’s is our time frame, and “Maudie” ‘s writer Sherry White  has the late teenaged Maud seeking some independence from her Aunt Ida’s restrictions. Maud parlays her way into a housemaiden’s job with even more rules. How her spirit wins over the gruff, mono-syllabic Everett  is much of our tale.

Sally Hawkins’ wry smile and swinging legs, her constricted hands, and her unconstricted heart, get us ready for her seven-mile-walk on hobbled limbs and her easy “would not mind a cup of tea” as she introduces herself to the knuckle-cracking Everett. Hawkins is brilliant in capturing the emotionally delightful Maud. One of my favorite scenes is where she delights in the irony of being called his “love slave”.

Hawke is equally as fine in his brutal remarks and quick to anger ways: “You walk funny”, “I am the boss; don’t forget it”, and “Who told you you could talk to the dogs like that!”  “It is me, the dogs, the chickens, and then you.” He kicks the door when he can’t recall the words he needs on his help-wanted ad. He wishes his housekeeper to bring her own cleaning supplies. His tender side is shown, too, as he volunteers at the orphanage where he grew up and as he comes to show his love for Maud.

His coarse insecurity is understood until he slugs Maud across the face. Maud leaves him and stays with her vacationing, New-York-City friend, who admires her work and buys Everett’s fish. Smaller moments lead to bigger lessons. Everett wants her back, and Aunt Ida no longer believes Maud has “stained the family name”. In fact, Ida proclaims that Maud is the only one in the Dowley family who ended up happy.

Stay through the credits to see many of Maud’s pictures which capture her innocence in the unmixed color and true lines of her work. But best of all, learn to capture her joy.




Published by

Christine Muller

Carrying a torch for film is what I have done for over forty years, thus the flambleau flamed when I was urged to start a blog. Saving suitcase loads of ticket stubs was no longer relevent so I had to change the game. Film has been important for me in the classroom and a respite for me outside of it. No other art form seems to edge the frayed seams of life as neatly as when a film is done well. I am happy that over one-hundred countries have citizens viewing my thoughts on Word Press, and a few leaving their own with me. Over thirteen hundred comments to date, and over three hundred films reviewed.

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