Take This Waltz
It's tough to really enjoy a film that doesn't emotionally click, in which we don't feel with our hearts that things should've turned out how they did, but Polley has such a beautiful directorial style and conveys her intentions so clearly that "Take This Waltz" warrants a certain degree of respect for its bold yet so honest and impressively perceptive take on love.
And that’s precisely why it’s fascinating. No less than that tribute to John Galt’s creed of the self-satisfaction of the powerful, “Take This Waltz” seethes—in an extraordinarily low-key, almost somnolent way—with an ideology, one that runs counter to the prevailing trend in romantic comedy. Like “Atlas Shrugged,” it’s a vehemently pseudo-Nietzschean film, the subject of which is not the power of desire but the power of beautiful people; it’s a movie that, perhaps, only an actress could have made.
Take This Waltz is so truthful and honest a film that on the rare occasions it hits a false note or becomes over-explicit or sentimental, it really jars. Like the Cohen song, Polley's movie touches on familiar feelings and evokes common experiences in a way that goes beyond what can be explained or paraphrased.
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