by Frank Calvillo
I’ve always felt that the most underrated brainchild to come out of the Norman Lear universe was Maude. Both All in the Family (from which Maude was spun off) and The Jeffersons made such a cultural impact beyond anything that could have been foreseen, that they have become true television institutions that have yet to be touched.
The same was never true for Maude, however, despite its many admirers and the popularity of lead actress Beatrice Arthur. The show has jumped in and out of syndication for the last decade or so, gathering new fans in the process, while still keeping one foot under the radar. Its a shame since Maude was and is one of the most daring shows of its day, at times even eclipsing the very series it spawned from in terms of sheer boldness. The day-to-day life of highly liberal upper-middle class housewife Maude Findlay (Arthur) as she deals with many social and political issues of the ’70s, continues to be comedy gold in this season two DVD release.
Part of what made Maude so great were the assortment of wacky characters she surrounded herself with, and while in the first season, many of them were pushed to sidelines in an effort to showcase Arthur’s talents and build up the central character, here each one has his or her own moment to shine. There’s Maude’s long-suffering husband/shouting partner Walter (Bill Macy), her progressive daughter Carol (Adrienne Barbeau), the household maid Florida (Esther Rolle), Walter’s ultra-conservative best friend (and Maude’s main rival) Arthur (Conrad Bain), and Maude’s ditzy friend Vivian (Rue McClanahan). Each character is so perfectly constructed and fits well into the show’s ’70s-themed storylines.
Throughout the season, Maude and company tackle issues that were shocking for its era, yet would STILL make network executives nervous today. The season opens with “Walter’s Problem,” a two-parter where Maude and Walter confront his alcoholism. Eventually, the season goes on to address issues such as premarital sex, cosmetic surgery, unionization, race relations, and sexual assault. While these topics are treated with seriousness and respect, the comedy Lear and his creative team attach to them gives the audience a refreshing break. A great moment like this occurs the morning after Walter has gone on a drinking binge ending with him giving Maude a black eye. When someone asks Maude how it happened, she frustratingly replies: “I went jump roping without a bra on!”
Maude was never just a platform for social issues of the day, however. This was a genuinely funny sitcom full of hilarious situations and priceless dialogue. For example, in one episode, when Maude finally settles on what hat she will wear to a co-worker’s funeral, she looks at herself in the mirror and says: “Oh this one is perfect. It says ‘I care, but I’m not a relative.’”
The situations themselves only matched the lines in terms of being true situations with multiple sides. There’s “The Wallet,” where the question of privacy is addressed, while “Maude’s Revolt” sees Maude desperately trying to keep Walter by her side as the men and women at her birthday party instinctively separate into different groups.
The chemistry between Maude and Walter is also still a joy to watch. While the two are not supermodel types, the powerful sexual chemistry shared between the two is fantastic. These are two characters who, in spite of age and arguments, literally can’t keep their hands off of each other. It a joy to watch and remains one aspect of the series that always worked.
Changes which occur this season include Carol’s engagement, Walter and Vivian’s quick courtship and marriage, and Florida’s quitting as the Findlays’ maid after her husband’s promotion (Rolle left to star in the Maude spin-off Good Times as a result of her character’s popularity).
Watching the show today, its inevitable that some of the jokes seem dated and the show’s overuse of Nixon/Watergate material is a bit much (excusable given it was still making headlines all through the season).
Yet the heart of the show remains intact, and despite plot changes and time, Maude remains as good as ’70s TV comedy gets.
