Take This Waltz is beautiful maddening and sexy just like its protagonist Margot (Michelle Williams). Margot speaks like a toddler to her husband Lou (Seth Rogen). She's moody but playful and she has cutesy and symbolic neuroses like insisting on taking a wheelchair at the airport because trying to make her flight is the sort of limbo that makes her anxious. As she explains to a handsome stranger named Daniel (Luke Kirby) she's afraid of connections she's afraid she'll get lost and no one will ever find her. Almost everything about her is childish from her bright yellow raincoat to her junior high insults ("retard " "gaylord") to her shrieking embarrassment when she pees in the pool during a water exercise class.
"What's the matter with you " asks Daniel "generally?" That's the crux of the movie. What is the matter with Margot? Even Margot doesn't know the root of her restlessness. It seems the only person willing to call her on it is her sister-in-law Geraldine an alcoholic in recovery who is already anticipating her own failure.
Take This Waltz relies heavily on chance and metaphor but the emotional intensity can make you willing to take that leap. Williams carries the film as Margot while Rogen gets an excellent chance to show his emotional side as Lou a lovable bear of a man. Kirby plays Daniel with an easy heady sexuality that makes Margot's decision understandably difficult. Sarah Silverman drops her bad girl comedian persona and really shines as acerbic but insightful Geraldine.
After Daniel and Margot meet at a historic village (she's rewriting the tour book for the tourist destination and he's who knows a fan of colonial history) Daniel is seated next to her on the plane. He also happens to live down the street from her and Lou. By the time he's began to wonder what Margot's deal really is they're knee deep in a heated emotional affair. Their attraction is immediate and palpable an irresistible force felt off screen. Daniel verbally consummates their affair with an unforgettably hot monologue.
Lou on the other hand isn't quite on the same page as Margot when it comes to their sex life or future children. He's knee-deep in a chicken cookbook so the couple and their family and friends eat almost nothing but different chicken dishes at every mean. You can only eat so much chicken right? Daniel on the other hand is new. "New things are shiny " Geraldine tells her in the communal gym shower as the women are soaping up after that pool incident. "New things get old " comments a woman nearby. This is one of the strongest scenes in the movie where women of all ages shapes and colors scrub down unapologetically and talk amongst themselves in a private/public space.
Take This Waltz is a more realistic portrayal of an erratic young woman who in a different writer's hands would be one of those Manic Pixie Dream Girls. Even though Margot wears adorable onesies and has the playfulness of a child she also hurts a lot of people and is screwed up for no apparent reason. It's not always clear why these men are attracted to her and you can tell they aren't sure themselves but it's interesting and painful to watch it all unfold. Take This Waltz is beautifully shot full of buttery sunlight and lush parks and sweetly decorated abodes. Polley rolled the dice on a difficult protagonist and comes up a winner.
Even if you’re one of the 19 other people in a competitive internship at Dean Witter with Chris Gardner (Will Smith) you gotta root for the guy. Life’s beaten him up but not got him down. He lugs his computer-monitor-sized bone density scanner all over San Francisco hoping to sell just one to make ends meet for his family—but nobody’s buying. As his wife’s (Thandie Newton) discontentment nears a boiling point Chris accepts an internship at financial institution Dean Witter—six months without pay and only one of the 20 applicants will ultimately get a job out of it. This sends her packing. She leaves Chris and their son Christopher (Jaden Smith) to fend for themselves at which point they get evicted. It’s the tip of the iceberg because over the course of Chris’ penniless pursuit of the Dean Witter job (and “happyness”) he and Christopher will get by sleeping in homeless shelter--and even in train-station bathrooms. Chris had always vowed to never leave his son and he keeps his promise but there’s no guarantee that his perseverance will pay off. Except for the fact that Happyness is “INSPIRED BY A TRUE STORY”! Will Smith is getting all the awards buzz but it’s his real-life son Jaden who transcends all expectations in Happyness. Jaden’s never acted in a movie before and it’s safe to assume that because of his father's long-running movie stardom he could not have grown up in a more different environment than that of his character. Which makes it all the more amazing for this 8-year-old Hollywood tyke to grasp even if coincidentally the plight of a nomadic urban child. The best part about little Jaden is that his performance doesn’t seem robotic like so many child actors who are already too "seasoned" for their own good. Aside from the expected cutesy laughs there’s genuine spontaneity in Jaden’s performance obviously thanks to the fact that he’s acting opposite his dad. Papa Smith gives what’s probably his best performance to date although he's had a career of primarily action roles that weren't exactly conducive to a skills showcase. He delivers the goods here—as seen in the tear-rific trailer—as a man whose whole life is his child but frankly the tears evoked might be too few for Oscar’s liking. Newton (Crash) in a small role is terribly miscast but Mr. and Mr. Smith dominate the screen anyway. Even with the studio flaunting the movie’s "Inspired by a true story..." tagline like a badge of honor—as studios tend to do—and this being the holiday season and all Italian director Gabriele Muccino expends way too much effort into the crowd-pleasing/feel-good aspects of Happyness. The happy ending everyone already knows about should be saccharine enough. Granted this is why a studio loves true stories—one that begins on a low note ends on a really high note and fluctuates all over the radar in between—and it may make the film more pleasing to its targeted mainstream audiences but Muccino and writer Steve Conrad (The Weather Man) really take the gloss factor much too far. In this case they essentially try to tell us a mostly sad story but will not let us feel sad. For instance during what could be very dark reflective scenes potentially connecting with viewers who have struggled through similar problems music befitting a children’s tale overtakes the would-be drama so we don’t ever feel too badly for Chris. It’s nice that the director cares so much for us but oftentimes the best directors are the ones who show an audience tough love.