The genesis of Universal's 47 Ronin is almost as tragic as the actual history that the movie is culling from. As the story goes, Universal saw the sprigs of talent sprouting from fresh faced director Carl Rinsch, whose previous experience was limited to just a couple of commercials and a nifty short film. The studio decided to ease the new director into feature filmmaking by cutting him what amounts to virtually a blank check, and giving him charge over a multi-national samurai fantasy epic. Almost impossibly, the film isn't a complete disaster. It's just a minor one.
47 Ronin follows the classic story of the titular team of warriors, a group of disgraced samurai who band together to seek revenge against a merciless warlord that betrayed and killed their master. But this isn't your grandfather's version of the story. 47 Ronin is an international affair, and it's covered with a veneer of Japanese mysticism and a thick coating of Hollywood lacquer, but east meets west rather uncomfortably, and it's mostly due to Keanu Reeves. Reeves' character is clearly crowbarred into the story that has no room for him, and it's plainly obvious where the seams of the story were stretched in order to patch him into the narrative. Reeves plays Kai, a half Japanese, half English orphan who is adopted by the samurai clan. His character serves no real purpose beyond being white, slicing things until they die, and playing the male lead of the most superfluous love story of the year. Rinsch simply can't make the inclusion of the character feel organic in any way, and "Kai" ends up feeling like a calculated studio move. It's a shame that the film spends so much time on Reeves when the real star is clearly Hiroyuki Sanada, who plays off the stoic samurai most believably among the rest of the cast.
It's also shame that with all the mysticism pumped into the story, there's no magic in the actual center of the film, the ronin themselves. The only personality trait a samurai is allowed to possess seems to be unerring stoicism, and between all 47 ronin, there are probably only three distinct samurai with any discernible character traits beyond an intense need to brood, and you'll probably only remember those three by the time the credits roll, only to promptly forget about them only a few hours later. Thankfully, Rinko Kikuchi's slinky and treacherous witch adds some much needed camp and personality to the mostly forgettable human characters.
And that's the issue with 47 Ronin. It's largely forgettable. When your film takes on a historical legend like the tale of the 47 ronin, a story that has been told and told again ad nauseum over the years, you really need to justify your own version. There are reels and reels of film dedicated to this story, and 47 Ronin doesn't manage to add anything significant to the canon. It promises to weld myth and history together, but does so clumsily, and while some of the action scenes are exciting, especially a particularly inspired set piece that involves the ronin noiselessly breaking into a heavily guarded fortress, the film is a bore when it's not clanking swords together.
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47 Ronin is a film with many stories. As much as it is a tale about the revenge of four dozen masterless samurai, it's also the tale of an inexperienced filmmaker swallowed up by the enormity of blockbuster filmmaking. Most of all though, It's proof that you shouldn't cram Keanu Reeves into a movie that doesn't really need Keanu Reeves. What you're left with is a dull and bloated samurai epic that has its moments, but feels largely unnecessary.
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.