Starring Michelle Williams, Seth Rogen, Luke Kirby
Directed by Sarah Polley
Fancying itself an unflinching account of a woman torn between devotion and desire, Sarah Polleys second feature instead proves a prime example of the sort of cringe-inducing, callow screenwriting that calls attention to itself for all the wrong reasons.
For instance, an early scene finds Margot (Michelle Williams) partaking in a historical reenactment of an adulterers public flogging. Any guesses whats being foreshadowed? Next, shes being rolled through an airport in a wheelchair. As she explains to Daniel (Luke Kirby), the flirtatious stranger seated beside her on her flight, shes afraid of connections. Any guesses what the subtext might be? And just in case youre thinking, Isnt it about time for some more narrative contrivance?, it turns out that Daniel is neighbours with Margot and her husband Lou (Seth Rogen).
Whereas Lou is a baby-talking teddy bear who writes cookbooks, Daniel is a smut-whispering rickshaw driver who dabbles in art. And while Polley inexplicably depicts Daniels romantic pursuit of Margot as behaviour bordering on predatory, Williams convinces us that her character would be drawn to him, if only because its been ages since anyones carried a torch for her thats burned so blindingly. Likewise, Rogen is largely effective as the hapless cuckold whos tragically taken his wife (and her fidelity) for granted.
Alas, just when it seems possible that more emotionally honest territory might be explored, Polley sends her film into a tailspin with a third act thats as ham-fisted as it is wrongheaded. Ultimately, the best that can be said about Take This Waltz is that at least its broken heart is in the right place. Curtis Woloschuk
