Life Has A Gap In It...It Just Does: Take This Waltz (2012)

Take This Waltz can be an initially deceptive film, because if a viewer is to only take the first five or so minutes of the film as a signifier of its larger concept, it could easily be dismissed as pretentious hipster filmmaking in which the filmmaker seems more intent on showing how great their vision is cinematically than what their story offers, however, once a person makes it through this initial bump the  story explodes into something tragically real and soberingly poetic, never slowing down and constantly adding both ethereal and jarring imagery to study life in its most plain existence.  It is no small task to make Michelle Williams look like a complete mess, yet a combination of realist techniques on the part of director Sarah Polley, as well as a commitment to a disheveled appearance both physically and emotionally on the part of Williams makes for one of her most honest and gut-wrenching performances since Blue Valentine.  Like Blue Valentine, Take This Waltz does not attempt to offer an idyllic vision of human existence, although it certainly offers a considerably larger amount of moments in which life proves to be beautiful even if for a few fleeting seconds, almost always brought back to the jarring despair of reality.  While I have not seen Polley's earlier work Away From Her, I hear many good things about it and cannot wait to investigate it in relation to this work.  Take This Waltz demands its viewers to consider what sacrifice as an action truly means, allowing for this to serve both as a issue faced by characters within the narrative as well as the actors, who engage in actions in front of the camera that would not have been imaginable only a few years earlier, particularly some of the things pulled off by Sarah Silverman who delivers an excellent performance.  As I come closer to watching enough movies to justify formulating my top ten list of 2012, I am quite certain that this film will make the list, in fact, as I look over some of the films I still have to view it seems quite impossible that this will be topped, although to be fair, I had no idea what I was going into with this work and that could prove similar for some films I have yet to watch.  Also I am a sucker for well-executed cinematic references and the one tip of the hat to The 400 Blows is incredible.

Take This Waltz focuses almost entirely on the experiences of aspiring writer Margot (Michelle Williams) who is introduced to viewers as she is returning from a vacation to her hometown of Toronto, on the trip she meets a man named Daniel (Luke Kirby) whose agressive demeanor and cool attitude prove intriguing to Margot, so much so that a clear romance begins to emerge.  Yet upon arrival home, even after the revelation that Kirby is her neighbor, Margot pushes Daniel away because she is married.  It is only then that viewers are introduced to Margot's loving and stalwart husband the chicken chef Lou (Seth Rogen).  Lou clearly loves Margot and wants the best for them both, although the ability of his recovering alcoholic sister Geraldine (Sarah Silverman) to have a child with no trouble clearly looms over him and affects the communication between himself and Margot.  Matters are only made worse when Margot begins to secretly plan meetings with Daniel, who is receptive and actively attempts to get her to be unfaithful.  Margot clearly desires to be with Daniel, but cannot stand the thought of betraying Lou who has been more than loving and not deserving of Margot's infidelity, as such Margot plans to meet Daniel in thirty years, in which case she believes that she will have been faithful long enough to earn a kiss.  However, life does not prove that simple and due to part purpose and part chance Daniel keeps emerging into Margot's daily life, whether it be an accidental encounter that leads to both Margot and Lou riding in Daniel's rickshaw, or Daniel being invited to a house party by Lou who is oblivious to the entire ordeal.  Racked with guilt, Margot finally admits to her feelings and leaves a defeated Lou to be with Daniel, yet as the narrative suggests even the newness and passion of her life with Daniel fades and repetition and normalcy emerge.  In a sobering scene, both literally and metaphorically, Geraldine condemns Margot for her selfish actions and demands that she stop running away from her choices, leading to a closing scene of Margot enveloped in isolation, all of which is paired with the best use of "Video Killed The Radio Star" in a film ever.

Polley's film approaches the idea of infidelity, faithfulness and betrayal in one of the most honest and acceptable manners I have seen in a film to date, where as The Bridges of Madison County approached the problem of a woman questioning her unappreciated place in life, Take This Waltz does not afford the main character the outlet.  She has no justification in her infidelity, because aside from simply marrying to early and falling out of love, her husband has done nothing to deserve her unfaithfullness, in fact, he is almost too aware of her desires and needs.  The only serious argument they seem to have prior to her leaving is when he dismisses her advances while busy at work testing recipes, although viewers are quite aware that her sexual desires are likely an outlet from her tensely sexual conversation with Daniel only moments earlier.  Margot cannot be condemned too heavily for her eventual leaving, because she is honest about her feelings towards Daniel and aside from spending time with him in a platonic way never actually acts upon them in a physical way, nonetheless, Lou is justified in his feelings of betrayal because while she has not cheated on him she has undermined and tossed away an unspoken agreement to stay together for as long as time allows, emphasized with a heightened sense of tragedy in the final water tossing scene.  All of this blurring of viewers' notions of relationships makes it quite difficult to conceptualize the victim within the film, because while Lou is certainly getting a raw deal he cannot expect to force someone to stay with him that simply does not have their heart in the game, nor can Daniel or Margot be blamed for their desires because they emerge naturally and are not intended to be vindictive to Lou in any way.  Polly, I would argue, seems to suggest that life makes victims of us when we cannot properly address situations the moment they emerge, especially when the consequences have dire effects on both individuals hearts and the relationships of those around them.

Key Scene:  The initial amusement park ride scene is filmed with such cinematic beauty that when it comes to a jarring stop I felt my heart jump a bit, something I am far more used to experience during a scary movie, yet it is so tragic in this context that I could not help but react emotively.

This is yet another great film from last year going under the radar and it deserves all the love it can get, buy the bluray, or watch it on Netflix while you still can.

Romantic Love Is The Last Delusion Of The Old Order: Anna Karenina (2012)

Much hype circulated around this recent adaptation of Anna Karenina, which of course has proven to be a staple of film, for many decades, seemingly having some adaptation for pretty much every decade within the history of cinema.  It is hard to justify creating a new version of such works, especially when it is arguable that nothing new can be provided on the subject matter, however, Joe Wright does manage to exact something that is fresh both in terms of the age old material, as well as in regards to cinematic production as well.  This particular version, similar to one of my favorite films Dogville, immediately demands that viewers accept the world of their film to exist within a distinct and minimized space.  While it is certainly not as diluted as in Von Trier's work, Wright's adaptation of Anna Karenina is seemingly set within the confines of one theater, which proves both expansive and restrictive, much like notions of love and intimacy so ever-present within Tolstoy's seminal novel.  Many critics, specifically the guys at Filmspotting, seem decidedly split on Wright's vision, a few arguing that it brings a much desired vibrance to the antiquated text, while others seem content to claim its showy spectacle as a distraction.  I would venture to say that an argument could be made for either, although I favor the new life argument and happily embrace Wright's vision, although it could be influenced heavily by my deep adoration for his breakout hit Atonement.  Of course, this adaptation of Anna Karenina is not perfect and certainly has a handful of flaws, especially in regards to embracing consistency within the rather condensed diagetic framework, however, when this minimalist approach coalesces perfectly with the grandiosity of the cinematic narrative magic does exist on a nearly unprecedented theatrical level, and to Wright's credit he manages to evolve and appropriate specifics of the novel to an contemporary audience, which results in a quite an enjoyable film and one of the deserved stand outs from this year in film.  Furthermore, it never hurts when a movie incorporates stars from the hottest show from across the pond, which, as you certainly know, is Downton Abbey.

The story of Anna Karenina is all to familiar, even for those who have not read the novel or seen an adaptation earlier, the premise and plot has been adapted and reworked to fit a variety of films and other cultural outputs, regardless, a rehashing of the plot is a bit necessary as it is a dense work with many characters moving throughout the narrative.  Essentially there are two intertwined story lines, the first focusing on Matvey (Eric Maclennan) a wholesome pseudo-aristocrat who has taken to a life of hard labor as a means to become closer to his employment, as well as those that work for him, much to the demise of his family and his dear friend Oblonsky (Matthew Macfadyen).  Despite his troubled identity, Matvey is quite resolute in his adoration of Dolly (Kelly Macdonald) a baroness who is the object of many suitors, specifically Count Vronsky (Aaron Taylor-Johnson) a soldier who helps tie in Anna Karenina (Keira Knightley) the somewhat vapid wife of Russian diplomat Karenin (Jude Law).  Dolly refuses the marriage pleas of Matvey because of her infatuation with Count Vronsky, however, Vronsky's eyes wander to Anna upon their initial meeting, a desire that is shared by Anna who despite her position of power as it is tied to Karenin engages with Vronsky and becomes his mistress.  Needless to say their improper engagement leads to levels of distrust and infidelity ones with very serious societal and political consequences, eventually leading to the ruin Vronsky's military career and Anna's being shunned by proper social groups.  In the wake of being left by Vronsky, Dolly returns pleading forgiveness from Matvey who embraces her desires gladly and their life begins with dueling sacrifices intended to display their mutual loves, which proves beautifully successful.  In sharp contrast is the relationship of Anna and Vronsky one that has detrimental effects mentally on Vronsky and enacts clearly physical changes upon Anna, one of which being her eventual death.  However, even in her lack of existence, the narrative suggest that her presence lingers on even in the most subtle of situations.

The beauty of the metaphor of a closed space within this version of Anna Karenina is not easiliy lost and, in fact, is quite welcome.  The notions of politics, polite society and infidelity are often intimately tied together.  Hell, look at the recent General Petraeus scandal and its aftermath, not so much for its degree of shock concerning its effects on how we understand privacy and the value of respect associated to public figures.  Wright's adaptation certainly plays into these ideas in how we are led to view characters like Anna and Vronsky, whose relationship does have an element of sincerity and legitimacy, yet the very clear acts of infidelity and disregard for other individuals makes it loathsome, especially since in the confined spaces of this particular narrative many of their acts of betrayal occur while the other individuals are literally standing within eyesight, take a dance scene for example.  Incidentally, this notion of close quarters also allows for guilt and paranoia to consume those engaging in acts of betrayal, as well as those being betrayed, which happens with near cinematic perfection when we are shown Karenin leaving his house, only to look through a glass window to see not his reflection, but that of Vronsky, a cruel reminder that exiting the stage does not mean that the terrible and bothersome actions are occurring any less.  This moment is almost hypermeta, in that Wright questions what is lost when acknowledging that a character in a play, despite being off stage, in all likelihood still hears words and actions occurring on stage as they are often in earshot.  This is doubly exposed in the moment of Anna's death, which while exceptionally graphic is more so intense because the characters close to her appear to fell the physicality of her passing, not on a ethereal level but one of a very real factor, because it is occurring in the rafters above the theater, at least the diagesis of this work would lead us to believe such things.  Beyond these moments of brilliance, Wright also makes nods to The Rules of the Game and Children of Paradise that cannot and should not be ignored in this specific reading.

Key Scene:  The horse raise is really fucking intense, so much so that the expletive is necessary to drive the point home

This film is cinematic and meant for theatrical consumption, fortunately for everyone it is still in theaters and quite deserved of your money.  Drop what your are doing and go watch it immediately.