Take This Waltz

In the middle of the movie, this phrase came to me: Sarah Polley is a visionary director. I've never seen her work before, but somehow, I know.

I remember seeing the trailers for Take This Waltz, and it looked like hearts-on-your-sleeve indie material. It looked like a less miserable Blue Valentine (which I also haven't seen yet, but which is a Michelle Williams film, and is supposed to be a genuine representation of a less-than-ideal marriage). The casting of Seth Rogen seemed odd, but based on the trailer, it worked, so when I came across the movie to stream on Netflix, it was like a date with destiny.

Having made a splash with her first project, Away From Her, Polley returned to the indie cinema circle to direct her profoundly moving and original screenplay Take This Waltz. It's rather unique in its perspective on marital unhappiness, in that you are equally uncertain (as the characters) as to "the right thing to do." Michelle Williams, arguably the most successful Dawson's Creek alum, completely shines as Margot, a young writer married to Lou (a rather mature Seth Rogen), who is working on a chicken cookbook. In the midst of a hot Canadian summer, Margot unexpectedly meets her new neighbor Daniel (Luke where-have-you-been-all-my-life Kirby) and finds an entirely different, comfortable, confident, sexy as hell, happy side of herself. She and Daniel become friends, but Margot struggles with the deeply felt commitment to her husband. Maybe in thirty years, she tells Daniel, I can kiss you. But what makes this movie interesting is the trajectory of the story, the fact that it doesn't end when, where, or how you think it's going to. At least - not for me.

The film is beautifully shot, in Canada, and using a luscious palette, with some truly exquisite framing. The art direction is incredible, so detailed and colorful, it's easy to want to live in this world, with these characters, and their emotions. Even Sarah Silverman, as Margot's sister-in-law Geraldine, manages to really shed her comedic persona and embrace the gravitas the film requires. Evidently I like Silverman in more than Wreck-It Ralph; she's pretty great here, too. But again, it's Williams whose inner torment holds the film together, and whose performance helps me to understand how so much can go unnoticed between two people... how everything at home may seem fine, and if you didn't know what was going on in Margot's head and heart - you couldn't tell.

The only challenge is trying to wrangle a moral or a lesson out of the film. I can't do it. I don't know if the grass is always greener on the other side, or if one choice really is better. I want to believe there is an answer, and movies usually do that for you, let you believe in happily ever after. This one - not so much. It's not a film to look to for guidance or reassurance, but it is an immensely moving work of art.


Notes:
- Much of the cast, including writer/director Sarah Polley, had roles on the very successful Canadian series Slings and Arrows, about life and work at the New Burbage Theatre Festival. Rachel McAdams also appeared on the show.
- Did you know Seth Rogen is Canadian? That means that only Sarah Silverman and Michelle Williams are American cast members. But Williams was born in Montana, and that's practically Canada, right? (JK!)
- If you really want to see an actor famous for his comedy do a dramatic turn, see Paul Rudd in The Shape of Things. Everyone who knows me knows how I feel about this movie. What other comedy actors have done brilliant dramatic turns? Leave it in the comments! (Robin Williams doesn't count; he's done enough drama to be a crossover actor. Also, I loathed Patch Adams.)