Take This Waltz

I only know Sarah Polley as an actor. So, when I heard that she directed, and wrote, this (her second feature) I was instantly curious. Hell, I didn't even know she could direct. Well, I do now and I can safely say that she's pretty good actually. Some people are biased against actors directing, but in really they are the best people for the job. They understand what actors go through and how they work on set, and all that (unless you're Laurence Olivier directing Marilyn Monroe, the old fashioned bastard). So, does that mean that this is a good film even though it's pretty brilliantly directed? Well, I think it is... sometimes...


Michelle Williams stars as Margot, an aspiring writer who has been married to Lou (Seth Rogen) for 5 years. While on a business trip, she meets Daniel (Luke Kirby) who just so happens to be her neighbour. As the two become closer, they realise that they have romantic feelings towards each other, with Margot being drawn between her husband and Daniel. Comparing this to the other two rom-coms I've seen this year (The Five Year Engagement and Friends With Kids) the main difference between them and Take This Waltz is in the way the plot is formed. In the other two, the story comes from the scenario, the main premise of the movie that the characters find themselves in. In this film, it's the characters actions that move the plot forward, which makes the film seem more natural rather than the other two. The Five Year Engagement and Friends With Kids seem almost forced into being this single premise that drives the movie. A lot of rom-coms (a lot of plain old romance movies in general) are unfortunately like this, and it is exceedingly rare that you find a movie like Take This Waltz.

So, this is a refreshing rom-com that goes for realism rather than glamour. Right now, I can recommend it on that level alone. At another level of recommendation, the acting is superb, especially from Williams, playing a woman who is becoming more and more depressed at the predicament that she has landed herself in, and Sarah Silverman, who plays Lou's sister and a reforming alcoholic going through an existential crisis. There are also some truly moving moments, including one that definitely seemed to take inspiration from the infamous diner scene from When Harry Met Sally, and another that takes place on a fairground ride where there is no talking, just two people sharing looks of resignation and sadness. But that's the thing. For me at least, this film seems to made up of brilliant, realistic moments and scenes that don't really come together as a whole. And I blame both the characters and the overly twee nature of the film. God, this film is cutesy! Everything looks like it came out of a pixie-dream-girl catalogue. The house Lou and Margot live in, the clothes they wear, and, worst of all, the excrutiating love games that they play together!

But tweeness aside, this it is Margot that drives this film. She is the central focus and her actions are what moves the plot forward. She turns the film from a generic rom-com with a pixie-girl lead into a look into the mind of a woman who is suffering from the every day normal depression and confusion that we all suffer from from time to time. So, for me this is not a film about a woman trying to choose between loyalty to her husband and the new attraction she feels for a stranger, well it is, but only on the surface. For me, this is about people trying to keep going, living life for the good times that only come up once in a blue moon. It's about living from moment to moment, trying to find happiness in everything, but more often than not, failing. It's just about life. I know that all these cliches make it sound sappy, but believe me it's really not. It's just real, and most difinitely not as perfect as I make it out to be.

The major grievance I have with this film is the ending, or endings. For you see there are many places where it could've stopped. I suppose it went for more realistic and less Hollywoodanised ending. But I would've been happier if it ended around 20 minutes prior to when it did. It was a little more romantic, yeah, but sometimes the fairytale ending is what we want, what we need, when we go to see a film. Though I wouldn't really call either stopping points a fairytale. But with the extra padding, the movie starts to drag, and it loses some of the magic that the rest of the film had.

And I haven't even started on how good Seth Rogen was! (Or how good the soundtrack is as well, for that matter) This is really the best live action movie I've seen him in (I maintain that he would make an excellent voice actor) and it really proves he can act. Luke Kirby is also excellent, and Sarah Silverman steals the movie with her underrated performance. I know this isn't for everyone, but if you are interested do see it. The cuteness doesn't overpower (in parts, generally it's pretty balanced though) but it can annoy at times. The cast is excellent and there are some truly exceptional scenes. I can see this little mis-matched gem becoming a cult favourite in years to come. And you know what, it's probably the most romantic film I've seen all year! Until next time folks.

My Week with Marilyn (actual review)

 

Yay, at last a film I actually wanted to see! This has to be the simplest out of the three so far, but it has been the most enjoyable. I'm not sure what that says about me. Anyway, this is a really lovely film. The acting is superb, the cinematography is glorious and its really well written. There isn't as much substance to it as Shame, which was throwing symbolism at the audience, and it's not as long and boring as J.Edgar, but it is a well made film and I would reccomend to anyone who's interested. 

The best films about famous dead people, I have found, are the ones that focus on a single event or aspect of that persons life. While this isn't always the case, and there are exceptions to both sides, this film is is definitely one that works well. Instead of trying to tell the detailed story of Marilyn Monroe's life, instead we are given a "montage" of the time she flew to England to star in The Prince and the Showgirl with Laurence Olivier, narrated by his third assistant director, Collin Clark, who kept a diary during the shoot. This is a very effective way of telling the story, as Marliyn's private life was very much in shadows while she was alive. But you can instantly tell that this was based on a diary, because in every scene Collin is there, showing that all this is from his perspective. This may account for the melodramatic acting and scenes that occur sometimes, usually at the hands of Kenneth Brannagh. 

Marilyn's past is not exactly addressed. There are lots of hints to the tough childhood she had, mainly through little phrases here and there in the script. Match this with Michelle Williams' amazing acting, and the end result is truly astounding. Williams actis the pants off everyone on the screen, looking and recreating Marilyn as if she were alive again. She has subtlety and depth, and especially the recreated scenes from The Prince and the Showgirl. You really do end up believing that she is in fact Marilyn and the actress disappears. 

With the other actors and characters, Judi Dench is of course brilliant. Though none of the other characters are in it as much as Marilyn and Collin, each of them do leave a lasting impression. Except for Emma Watson, whose part is so small she may not have even been in it. The rest of the roles, even the small ones, are made up of those faces so familiar to British film and TV. Toby Jones, Zoe Wanamaker, Derek Jacobi (just to name a few) all pop in and out. The only real problem I have with this is that all the other characters are so looked over in favour of Marilyn, but I suppose that happened because it is meant to be more of memoir film and the narrator was mostly concerned with Marilyn herself. Dominic Cooper's accent however, is quite awful at times. His voice moves all over the place and he comes off the worst out of the bunch. 

But Kenneth Brannagh is really the one who overacts the most and the best in this film. Playing Olivier, he relishes the role and you can tell he is having the most fun out of all of the cast. Newcomer Eddie Redmayne is also good as Collin. He's sweet and kind, and you can see his character grow in confidence throughout the film. 

And that's it really. No seriously. Like I say, this isn't a complicated movie, there isn't that much substance or symbolism, the acting is amazing and the script is hardly cliched at all. I know this may seem like a short review, but there isn't really that much more so say. But I will say this. Actors should see this film. They should see it to find out how to successfully portray a real person, they should see it to find out how to overact with out becoming laughable. They should also see it as a warning to not let fame rule someones life, and to not create a character that you can't live up to. 

That's it from me. Go and see it! NOW!