Followers of Michelle Williams' work will quickly realise that 'Take This Waltz' is a companion piece to 'Blue Valentine' but in a very different way. Where 'Blue Valentine' dealt with the very painful break-up of a marriage, 'Take This Waltz' deals with the pain of true love – longing, desire, guilt and separation. The constant in both films, however, is Williams' superb central performance, and I for one, haven't seen an actress perform a better role this year – naturalistic and intense, every gesture full of meaning. With the summer blockbuster season coming to an end to be replaced by the annual Autumn glut of Oscar worthy heavyweight drama, Michelle Williams has already staked her nomination for Best Actress.
Williams plays Margot, a young freelance writer, who on an assignment at the beginning of the film, meets Daniel (Luke Kirby), an artist and rickshaw driver, who lives across the street from her in Little Portugal, Toronto. The chemistry between the two characters is palpable from their first meeting and this leads Margot to examine the state of her marriage to Lou (Seth Rogen), her husband of five years and a budding cookery writer.
The title of the film; 'Take This Waltz', is a metaphor and this is made beautifully clear in a pivotal montage near the end of the film. The opening scene really gives the end away but it is not the end result that is important but the emotional journey which the lead protagonists go on in the ménage a trios that develops between Margot, Daniel and Lou. Luke Kirby gives off a strong West Coast, slacker cum 'Friends' vibe and in doing so is perfectly cast as the handsome, square jawed, young antagonist. Seth Rogen is a revelation and should seriously give up the inane comedic roles of his past, to concentrate on more dramatic fare such is the depth of his performance.
An independent actress of some note herself, the writer and director, Sarah Polley, has attempted to use this vibe to make a romantic comedy-drama that examines the complex realities of relationships, love and marriage. For the most part, she has succeeded because the film is a bittersweet portrayal of the nature of true love that manages to avoid the simple clichés of similar stories. It is also thought provoking and will have you discussing it earnestly in the bar afterwards.
The fact that you will do so highlights what I initially considered to be two big problems in the film. The first is the relationship between Margot and Lou. Both have a wonderful sense of humour and a great rapport with one another, but there is something missing – a carnal intimacy that is not satisfactorily explained in the script and which, therefore, undermines the credibility of the relationship between the two leads. This can lead to confusion as to where the problem might lie, but after further reflection, it is clear that Lou is to blame for the (physical) dissatisfaction that Margot feels in her marriage, but the complete lack of sexual intimacy from Lou is never explained. This is perplexing and is obviously the hook which attracts Margot to Daniel and as one scene clearly demonstrates; the monologue in which Daniel reveals his true feelings to Margot, and which incidentally will have you blushing like a teenager after your first kiss, the lack of a physical relationship with her husband is counterpointed by the promise of the red bloodedness of Daniel. At first, I was disappointed that such a simple narrative structure was used to engineer the attraction between Margot and Daniel, but I did not see the additional layer of meaning that the end of the film would reveal in all its delicious, ironic glory.
The second 'problem' I had with the film lay with its dénouement. To say more would be to give away a big spoiler so all I will say is that the opposite decision would have been more challenging to explore in my opinion, but again, the script justifies this beautifully with a fierce criticism from Margot's sister-in-law, Geraldine (Sarah Silverman), which puts in doubt the judiciousness of Margot's actions. A sagacious statement earlier in the film; 'Even new things turn old', comes full circle at the end and it is clear that Margot has tragically fallen between two stools. Overall, 'Take This Waltz' is an emotionally charged, thought inducing and enjoyable dramedy that on further reflection reveals deeper and deeper layers of meaning, which the script skilfully brings to a satisfying if somewhat imperfect end. The film is a brilliant antidote to some of the dull blockbusters of the summer. Go and see it!
Williams plays Margot, a young freelance writer, who on an assignment at the beginning of the film, meets Daniel (Luke Kirby), an artist and rickshaw driver, who lives across the street from her in Little Portugal, Toronto. The chemistry between the two characters is palpable from their first meeting and this leads Margot to examine the state of her marriage to Lou (Seth Rogen), her husband of five years and a budding cookery writer.
The title of the film; 'Take This Waltz', is a metaphor and this is made beautifully clear in a pivotal montage near the end of the film. The opening scene really gives the end away but it is not the end result that is important but the emotional journey which the lead protagonists go on in the ménage a trios that develops between Margot, Daniel and Lou. Luke Kirby gives off a strong West Coast, slacker cum 'Friends' vibe and in doing so is perfectly cast as the handsome, square jawed, young antagonist. Seth Rogen is a revelation and should seriously give up the inane comedic roles of his past, to concentrate on more dramatic fare such is the depth of his performance.
An independent actress of some note herself, the writer and director, Sarah Polley, has attempted to use this vibe to make a romantic comedy-drama that examines the complex realities of relationships, love and marriage. For the most part, she has succeeded because the film is a bittersweet portrayal of the nature of true love that manages to avoid the simple clichés of similar stories. It is also thought provoking and will have you discussing it earnestly in the bar afterwards.
The fact that you will do so highlights what I initially considered to be two big problems in the film. The first is the relationship between Margot and Lou. Both have a wonderful sense of humour and a great rapport with one another, but there is something missing – a carnal intimacy that is not satisfactorily explained in the script and which, therefore, undermines the credibility of the relationship between the two leads. This can lead to confusion as to where the problem might lie, but after further reflection, it is clear that Lou is to blame for the (physical) dissatisfaction that Margot feels in her marriage, but the complete lack of sexual intimacy from Lou is never explained. This is perplexing and is obviously the hook which attracts Margot to Daniel and as one scene clearly demonstrates; the monologue in which Daniel reveals his true feelings to Margot, and which incidentally will have you blushing like a teenager after your first kiss, the lack of a physical relationship with her husband is counterpointed by the promise of the red bloodedness of Daniel. At first, I was disappointed that such a simple narrative structure was used to engineer the attraction between Margot and Daniel, but I did not see the additional layer of meaning that the end of the film would reveal in all its delicious, ironic glory.
The second 'problem' I had with the film lay with its dénouement. To say more would be to give away a big spoiler so all I will say is that the opposite decision would have been more challenging to explore in my opinion, but again, the script justifies this beautifully with a fierce criticism from Margot's sister-in-law, Geraldine (Sarah Silverman), which puts in doubt the judiciousness of Margot's actions. A sagacious statement earlier in the film; 'Even new things turn old', comes full circle at the end and it is clear that Margot has tragically fallen between two stools. Overall, 'Take This Waltz' is an emotionally charged, thought inducing and enjoyable dramedy that on further reflection reveals deeper and deeper layers of meaning, which the script skilfully brings to a satisfying if somewhat imperfect end. The film is a brilliant antidote to some of the dull blockbusters of the summer. Go and see it!