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Non-Review Review: Maudie

This film was seen as part of the Audi Dublin International Film Festival 2017.

“Show me the way you see the world,” urges one buyer of Maud Lewis approximately half-way through Maudie, capturing the ageless appeal of just about any artistic vision. There is something exciting and unique about the opportunity to examine the world from a unique vantage point, to perceive time and space from the perspective of somebody else.

That is particularly true of Maud Lewis, the Canadian folk artist who captured the international imagination through the forties and into the fifties. Lewis had a very unique perspective on the world, capturing her surroundings and even people in crude two-dimensional terms with a surprising amount of depth. The little incongruous details of these seemingly simplistic paintings turned Lewis into a cultural icon, whose influence and legacy perseveres to this day.

maudie

Wedded to convenience.

The biggest problem with Maudie is that the film completely lacks any sense of original or distinctive vision, any real effort to see the world as it must have appeared to Maud Lewis. As much as the film and the surrounding characters might laud Maud for her distinct approach to painting, Maudie is a much more conventional tale. Maudie hits just about every biography cliché in the book, without offering any keen insight or shrewd observation. It lacks those small well-observed nuances that really brought Lewis’ work to life.

A superb central performance from Sally Hawkins cannot elevate a film that is so eager to engage in twee unreconstructed nostalgia.

Painting a pretty picture.

Painting a pretty picture.

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Non-Review Review: Blue Jasmine

Blue Jasmine is Woody Allen’s irreverent modernised take on A Streetcar Name Desire. Sure, some of the finer details have been changed to protect the not-quite-innocent. The story is relocated from New Orleans to San Diego. (“This is such a European city,” our lead notes, as if to suggest it isn’t such a significant change.) The character of Stanley Kowalski has been divided across several different supporting characters – the Polish Augie and the car mechanic Chili. (“He’s just another version of Augie,” Jasmine suggests of her sister’s later boyfriend, drawing attention to the fact that they are both other versions of another character.)

Allen plays of the structure and the beats of Tennessee Williams’ hugely iconic play, even playfully branding his Blanche Dubois stand-in as the movie’s “blue” Jasmine French. The result is enjoyable and intriguing, anchored on a fantastic central performance from Cate Blanchett as the Southern belle who might not be quite the victim that she claims to be. As with so many Allen films, there’s a rich ensemble at work here, but Blue Jasmine works beautifully by riffing cleverly on a classic of American theatre.

"... the kindness of strangers..."

“… the kindness of strangers…”

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