A prolific Canadian composer whose most popular film might still be his scoring debut out of the slasher gate with 1982s VISITING HOURS, Jonathan Goldsmith has since written far more delicate works, especially for director Sarah Polley on AWAY FROM HER and STORIES WE TELL. There’s a real feminine sensitivity to the actress-turned-filmmaker’s work, a tenderness that Goldsmith captures with surreal enchantment for the exceptional romantic drama TAKE THIS WALTZ. As Polley depicts the slow, sensual burn towards a marriage-ending affair, Goldsmith captures her breathless anticipation with music box bells and the light tap of a piano, graced with muted strings and samples that gasp with eroticism. WALTZ‘s score isn’t so much of a dance as its cues are a series of small, ethereal steps towards a long-awaited consummation.
Goldsmith’s transfixing chamber sound has a spare, melancholy quality reminiscent of Arvo Part’s tone poems, while enchanting with its strange, melodic uniqueness that’s also nicely thematic. Fuller strings arrive as WALTZ‘s journey of self-discovery finally bears fruit, disarming any sense of forbidden sin that a male filmmaker would’ve likely given this story. Corinna Rose and the Rusty Horse Band provide a lovely, hopeful song for whatever may come the character’s way with the folksy harmonica and guitar rhythm of “Green Mountain State,” give WALTZ‘s album an especially effective capper to the instrumental wistfulness before it.
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