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Gael García Bernal,
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Bi-polar mall security guard Ronnie Barnhardt is called into action to stop a flasher from turning shopper's paradise into his personal peep show. But when Barnhardt can't bring the culprit to justice, a surly police detective, is recruited to close the case.
While on a plane ride back to Toronto from a writing assignment, Margot meets Daniel, a handsome stranger. An immediate attraction is formed and Margot is able to open up and discuss some of her fears and longings. A taxi ride back home causes Daniel and Margot to realize that they are neighbours and Margot admits she's married. The summer-time heat and her increasing fascination with the handsome artist who lives across the street starts getting to her, and Margot is no longer sure if she's happy in her marriage or if she'd be happier with her fantasies with Daniel. Written by
Written by Ron Sexsmith (as Ronald Eldon Sexsmith)
Performed by Leslie Feist
Publishing Courtesy of Universal Music
Publishing Group a division of Universal Music Canada Ltd.
Master Courtesy of Arts & Crafts Productions Inc See more »
Sarah Polley wrote, directed and produced this little Canadian Indie TAKE THIS WALTZ and it seems t be a very personal project. Polley definitely has some insights into contemporary relationships, family, commitment, and values and she manages to transmit those ideas with success in this rather strange but in the end satisfying film. The cast is small and tight an dwell interrelated (except for a rather inappropriate shower scene at the ladies swimming pool when the shower is filled with naked unattractive older obese women) and the three primary actors who form this fragile love triangle are exceptional as are the other two main characters whose purpose seems to be an examination of alcoholism and its effects on a family.
We meet Margot (Michelle Williams) nervously coping with her fear of airports at the end of a writing assignment for a travel company. Her eyes engage a handsome young artist Daniel (Luke Kirby) and as fate would have it they are assigned adjoining seats on the airplane home. After an uncomfortably awkward conversation we can see that there is a mutual attraction, and on arriving home they share a taxi and discover that they live across the street form each other. Sensing her attraction and being the faithful wife that she is, Margot informs Daniel that she is married and they part ways. Margot's husband Lou (Seth Rogen) is a stay at home guy who loves cooking and is writing a book on various chicken recipes. Though Margot and Lou repeatedly tell each other how much they love each other, their marriage of five years seems more of a silly childish game than a mature marriage relationship. There is a moment when their tiresome silly word games is interrupted by a possible physical liaison but the idea of sharing love and the concept of a child is touched upon and we never find out why that is or who is trying to have or not have a family.
It becomes more obvious that Margot wants to be more exposed to Daniels and they play-act in strange situations, never consummating what obviously is a mutual attraction: Margot is fanatically faithful to Lou whom she repeated says she loves. The closest they come to intimacy is Daniel's responding to Margot's question 'What do you want to do to me?' - and the monologue seems to reveal hidden needs in Margot. Daniel's sister Geraldine (Sarah Silverman) is a recovering alcoholic and her child with her husband James (Graham Abbey) is beloved by Margot. The two confide in each other and words such as ¨Life has a gap in it, it just does. You don't go crazy trying to fill it¨ rather summarize the tow character's inquires. Eventually Margot decides she must explore the newly awakened feelings she has for Daniel and the remainder of the film is how that resolves: the ending is pretty much left up to the viewer.
Michelle Williams continues to grow as an actress, able to say more with her eyes and her body language than she is with the script of lines. She is truly remarkable. But she is very well supported by both Luke Kirby and Seth Rogen in roles that are not easy to make credible. The cinematography by Luc Montpellier adds a sense of surreal romance to the film and the musical score by Jonathan Goldsmith incorporates pop tunes such as 'Video killed the radio star' have superb secondary meanings. Parts of the film are flimsy and irritating and unresolved, but Sarah Polley proves that she is rich with ideas that makes us look at ourselves and those we love in a different light.
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