R W
Posts: 272
Joined: 23/6/2006
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As the film title is named after Leonard Cohen’s song, it’s a bit weak until the end when the actual song is played to understand why it’s used. Following her Oscar-nominated drama Away From Her, the great Canadian actress Sarah Polley, who has worked with the likes of Zack Snyder (Dawn of the Dead) and Vincenzo Natali (Splice), continues her directorial career with a magnificent drama about broken relationships.
The story revolves around 28-year-old freelance writer Margot (Michelle Williams) leads a charming life with her husband of five years, Lou (Seth Rogen). However, when she explores a new relationship with Daniel (Luke Kirby), Margot struggles with her feelings for both men.
Whilst the arthouse crowd might remember Blue Valentine, another drama about a struggled marriage which also stars Michelle Williams, Polley’s film takes a different approach to the subject. The film starts with the first encounter between Margot and Daniel and during the course leads to the announcement of her marriage and the location of Daniel’s home, which happens to be across her street.
Despite the instant attraction, this tortures Margot because the man she is married to happens to be a very likable guy who is currently writing a cookbook on how to cook chicken in various ways. One of the triumphs of the film is that the script doesn’t succumb to clichés or even judges our female protagonist (or anyone else for that matter) whose actions might lead to the idea of adultery.
Being an actress herself, the writer/director gets the best out of her actors, particularly Michelle Williams who is indeed at her very best here. Whilst many might accuse her role for being too ditzy, Williams performs Margot as if she is a curious child in a grownup’s body, whether it is subtly struggling with her love towards Lou, or humorously failing to control her bladder in a pool sequence. Known for their comedic backbones, Seth Rogen and Sarah Silverman provide strong dramatic performances as the former as the loveable lunk of a husband who knows something’s up, while the latter is, in a way, the voice of reason towards her flawed friend.
Made with such a low budget, director Sarah Polley presents some truly cinematic moments, collaborating with cinematographer Luc Montpellier who makes everything look sunny, although there is a great shot featuring a quick transition from day to night. Although it takes the tragic story seriously, the quirky aspect might be a bother for some, although the inclusions of songs like “Video Killed the Radio Star” are terrifically upbeat.
For a second directorial feature, Sarah Polley presents a brilliant depiction of a happy marriage slowly crumbling, featuring a wonderfully child-like performance from Michelle Williams.
< Message edited by R W -- 23/8/2012 7:30:57 PM >
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