Take This Waltz

Sarah Polley is probably most recognizable from her rolls in the remade Dawn of the Dead, Go!, or the television series Road to Avonlea. Polley is also an established writer and director, with eight writer/director credits to her name, and a list of awards and nominations. Written, directed and produced by Sarah Polley, Take This Waltz is a lonely tale of a relationship gone comfortable, and the idea that the grass may or may not be greener outside of the comfort zone. Take This Waltz takes place in a section of Toronto known as “Little Portugal”, story aside, this backdrop is an artist’s imagination of color and quirk; and the perfect emotional canvas to a woman torn between security and the risk of something new.

“New things get old”

While not an original story; the idea of a married woman seeking attention and affection outside of her marriage is not the target of this film. Margot is not unhappy, she is not untrusted, and she has no need for anything more than what her quiet life with Lou (Seth Rogen) has provided for her. But the human element of analysis plagues her. This doesn’t fall into the same film we’ve seen a thousand times where a dark stranger seduces a lonely, ignored housewife. Margot’s only enemy is herself. My only real complaint with this film comes in its pacing. The general formula seems evident: the environment is established, their relationship is painted for the audience, some type of struggle or external agitator arises, events occur, and the resolution. This is satisfying, but it takes so long for the film to pick up steam, it may be difficult for everyone to remain invested that long. It is quite possible I was not the intended audience of the film; and the end makes the journey rewarding, but it felt fluffed to me. Again, the target demographic may have felt more of the protagonist’s internal struggle, where I was left annoyed at her indecisions.

“You don’t go crazy trying to fill it, like some lunatic!”

What really kept me invested was the desire to see where Sarah Polley would take these characters, and the performances of its stars. Sarah Silverman (who I normally don’t care for) does very well here, specifically in the latter half of the film. Michelle Williams, whose performances I’m only familiar with from Shutter Island does particularly well in a constant state of childlike temptation and innocence, especially in her development as the film progresses. The real treasure of this film lies with Seth Rogen. From the first time I saw him in 40-Year-Old Virgin, and Knocked Up, I never thought the occasion would present itself where I’d applaud him for his performance. But his portrayal of the unbeknownst husband, and the amount of love and emotion he shows is startling. In regards to cinematography, there are several instances of true art in this film. While the hyper-rich colors of little Portugal give the entire film Crayola tones and a general upbeat vibe, the selection and framing of certain sequences and shots convey emotion on screen dramatically. Particularly, an early shot we see of Margot, sitting on an empty bed, reflected in a mirror alone, contained in this reflection. Later, during multiple sequences, the gyration of carnival rides with loud pop music blaring. Even a montage framed by Leonard Cohen’s titular melody- all shows a dedicated attention to detail and add to the craft of the film.

Written and directed by Sarah Polley, Take This Waltz was originally premiered at the 2011 Toronto Film Festival, and met with positive reviews; thereafter it toured through the film festival circuit, and was finally released publicly by Magnolia Pictures on their video on demand services. The film became available on DVD and Blu-ray home media on October 23rd 2012, and Redbox Kiosks on October 30th 2012, and most recently available on Netflix new releases. An emotionally complex film, that rests too far beyond tension; but ultimately rewarding for those that stay to the bitter end.