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Take Me
Movie

Take Me

1991 • Unknown

Woke Score
2
out of 10

Plot

Milk's husband dies on their wedding night while having sex. He returns as a ghost as she attempts to get her life back on track whilst choosing between two new men in her life.

Overall Series Review

Take Me (1991) is an archetypal supernatural romance of its time, using a tragicomic premise—a husband dying during sex on his wedding night—as the catalyst for a widow's journey of grief, choice, and moving forward. The central conflict is a traditional love triangle, complicated by the spectral presence of the deceased husband. Milk's attempts to navigate her new relationships are constantly undermined by the jealous, ghostly ex-husband. The story is an emotional drama about finding love, accepting loss, and the nature of letting go. The focus remains tightly on the personal dynamics between the individuals, with no evidence of the narrative pivoting into a critique of systemic issues, cultural institutions, or identity politics. The film is fundamentally a story about individual, intimate relationships.

Categorical Breakdown

Identity Politics1/10

The plot focuses exclusively on a personal love and loss story between named individuals, not on group identity. The character conflict is based on a romantic choice and emotional state, indicating a universal, content-of-their-soul approach to character value.

Oikophobia1/10

The narrative is centered on the deeply personal and traditional institutions of marriage and family-building through remarriage. The story uses an established home (Milk's life) as the setting for personal drama, not as a symbol of corrupt Western culture. No element of the plot suggests hostility toward ancestors or civilizational heritage.

Feminism3/10

The female protagonist, Milk, drives the narrative through her agency in choosing new partners and getting her life back on track. This positions her as an active agent rather than a passive object. While she is a central figure of agency, the ultimate goal remains the formation of a new, traditional male-female relationship, which keeps the score low on the 'Girl Boss' scale.

LGBTQ+1/10

The core of the plot is a heterosexual love triangle involving the deceased husband, the widow, and two new male suitors. The narrative is defined entirely by traditional, normative male-female pairing and sexual dynamics centered on marriage, with no inclusion or focus on alternative sexual identities or gender theory.

Anti-Theism2/10

The premise of a husband returning as a ghost explicitly affirms the existence of a non-material, spiritual reality and an afterlife. The conflict is a moral one (moving on vs. holding on), not a theological one. The use of a spiritual element as a plot device prevents the story from being defined by hostility toward transcendent morality.