Take This Waltz is a woman’s movie, but in the best possible way. It’s not a shallow chick flick and there’s no wedding scene. Instead, it’s an exploration of attraction and fulfillment from a woman’s perspective.
Margot (Michelle Williams) and Lou (Seth Rogen) have been happily married for five years. They are affectionate and playful with each other, but they have hit a patch where it’s easy for one to kill the other’s buzz and for a romantic moment to misfire. But Lou is a fundamentally good guy who loves Margot, and he is definitely not driving her into the arms of another man.
But Margot meets Daniel (Luke Kirby) and is fascinated by him. He is completely attentive – not in a chocolates and flowers kind of way, but by observing her deeply and pointing out things about her personality that she hasn’t recognized herself. Daniel exhilarates her, and she can’t keep herself from engaging with him.
Michelle Williams is once more transcendent. She is our best actress. We know that Rogen can play a goodhearted, ambling guy, but when his character is profoundly hurt, he delivers a tour de force. Sarah Silverman co-stars as Margot’s sister-in-law, a recovering alcoholic whose relapse sparks a fierce moment of truth telling.
Take This Waltz could not have been made by a man. In particular, there is a remarkable shower scene in which women of a variety of ages and body types have the type of frank conversation that women share with each other. Although they are all naked and fully visible, the scene is shot as to be devoid of any eroticism or exploitation. All that is there is the content of the conversation and the female bonding.
33-year-old Canadian actress Sarah Polley wrote and directed; Polley’s debut feature was Away From Her, my pick for best movie of 2006.
Take This Waltz is a beautifully shot film, but generally not in a showy way. The film opens with Williams backlit as she prepares a batch of muffins; it’s a simple kitchen scene, but Polley showcases Williams as Margot reflects on her choices and their consequences.
In one extraordinary scene, the camera swirls with Margot and Daniel on an amusement park ride blaring “Video Killed the Radio Star”. Their faces show fun, then an urge to kiss, then regret that they can’t kiss, then fun again and, finally, disappointment when the music and the ride end way too harshly.
Later, Polley reprises the muffin baking scene, paired with “Video Killed the Radio Star” in an unexpectedly rich way. After just two features, Sarah Polley is established as one of today’s top filmmakers. Take This Waltz makes my list of Best Movies of 2012 – So Far.
