Talk This Waltz is one of those films that is on the verge of being an indie darling and it’s easy to see why it’s found its place at Tribeca Film Fest. It’s a film quite obviously made by experiences and talented artists all around and has the potential to be great. Michelle Williams, gives another stunning performance, Sarah Silverman gives a wonderful performance and struts her stuff (literally and figuratively) on screen and Seth Rogen shows us yet another side of his talent. And they all do it with some extreme styling. Find out why this film is almost amazing…
- Director: Sarah Polley
- Screenwriter: Sarah Polley
- Producer: Susan Cavan, Sarah Polley
- Cast: Seth Rogen, Michelle Williams, Luke Kirby, Sarah Silverman
Margot (Michelle Williams) and Lou (Seth Rogen) are a happily married couple living a quiet, comfortable existence. Their marriage is filled with love, companionship, and humor, but after years of being together, they have settled for contentment and security over excitement. Their life is thrown out of order when Margot falls in love with a handsome and charismatic neighbor (Luke Kirby), and she is forced to choose between the comfort of the familiar and the exhilaration of the unknown.
- Michelle Williams: Once again, she’s great at playing a person going through an extreme emotional crisis. She once again fully throws herself into the depths of the role, analyzing and portraying the tiniest of emotions in a strong yet, subtle way. Only problem is, Blue Valentine is a far superior film overall, and we’ve seen her play this exact role a few times now. That being said, she’s becoming the Queen of the indie drama, who is time and time again captivating to watch.
- Sarah Silverman: Though she only had a short time on screen, she had the biggest presence and was easily my favorite part of the film, not only for her witty timing, but poignant and powerful performance.
- The Style: Though there is no WAY some of these couples could afford these homes, with these amenities and in such great clothes. That being said, the overall style of the film was phenomenal and it’s hard not to want to steal almost every cup and piece of clothing that pops up on screen.
- Simple Truths: It’s quite obvious that writer/director Sara Polley wanted to focus on some of those simple, coming-of-age truths that we all have to face at some time. Things such as “even new things get old” and the fact that Romeo and Juliet may not have worked out 10 years down the line. There are a lot of great messages in the film, that late teens and twenty year old’s can strongly relate to. There were parts of the film that really hit home, but there may have been a bit too many…
- Simple Truths: When well told, these simple truths realized can been groundbreaking, and this film had those moments, the problem is it had the same moments over and over again. It would tell you “even new things get old” and then tell you it again, and again, and again. So despite it having beautiful moments, the overuse of them makes you feel like you’re being brow-beaten with deep thought. Much like I complain about large, block-buster films over-explaining the plot, this film over-explains the emotions, making it so you feel like you’re learning a lesson and not experiencing one. Which leads me to…
- Editing: Someone needed to say, enough is enough and just start cutting this bad boy down! This film could easily have about 30-40 minutes cut out of it and it would make for a sharper more poignant film. It’s also hard to imagine that it could find a large enough audience with the near two hour run-time, and with all the love and skill that obviously went into making it, it would be a shame for it to not be seen widely.
- The End: There is a quiet moment towards the end of the story with Rogen, where we feel everything that has happened, know everyone’s perspective and it is simple, small and beautiful. It would have been an amazing place to stop the film there, but instead it dissects that moment and then shows us what we already know will happen in detail. From that moment on, they are, beating a bored audience. The film goes into over-explanation mode, and instead of leaving us with those moments of “knowing” and “feeling”, we’re left having our emotions spelled out to us.
What’s frustrating about this film is that there are great, not good, but great elements to it, but by over-indulging in the messages that it wants to get across, they’ve managed to leave it with none. Emotional films like this are best left felt, not explained.