Dir.
Todd Solondz, 1998, USA , 134 mins
Cast:
Jane Adams, Dylan Baker, Philip Seymour Hoffman, Lara Flynn Boyle, Justin Elvin, Cynthia Stevenson, Lila Glantzman-Leib
If you can get past the cartoon poster and the title with even a passing familiarity with Todd Solondz, chances are you're expecting a little subversion, some black humour and a bit of social commentary from Happiness . Well, by the time Michael Stipe hollers that he's "gonna find that happiness" over the end credits some two and a half hours later, you'll have seen some of the most disturbing scenes in modern cinema alongside some of the darkest comedy.
From the start, we're thrust headlong into an awkward break-up, as serial dumpee - and ironically named - Joy (Adams) has the tables turned on her. From here we follow a group of characters in their own pursuit of happiness, all loosely orbiting one family. Solondz doesn't allow for much gentle introduction, throwing us immediately into each character so we have to flail around like them to understand what's going on. Sometimes we work backwards to discover their very conventional lives, as with Allen's (Seymour Hoffmann's) computer worker. Sometimes we see the conventional life first and slowly uncover the truth as with Allen's Psychiatrist Dr Maplewood (Baker), a repressed paedophile whose life we see unravel in the film's most controversial storyline.
Happiness is not comfortable viewing. Within thirty minutes we can see a difficult jigsaw slotting together, or indeed breaking apart. However a black comedy pervades almost every scene. Often, Solondz thrusts us into a blunt emotion, only to farcically disrupt it. A scene where Allen's early, painful, self-loathing discourse cuts into his painful, self-loathing life via a cheap joke is a good example. Sometimes this shift highlights, but often it balances the horror on show - a rare concession to the audience.
Some aspects of Happiness are clearly autobiographical. Like Joy, Solondz taught English to immigrants and has described it as deeply rewarding experience. It's arguable if Joy thinks the same! With Joy, no good act seems to go unpunished. Her novelist sister Helen (Flynn Boyle) dismisses her life, while actively pursuing the events that Joy innocently stumbles into.
The film's structure, no matter how subverted, cannot fail to constrain a film that wants to take us from the crudest and most disturbing lows to ridiculous comedy in seconds, all wrapped in a predominantly pastel world, buffeted by Dolby muzac.
But, what carries Happiness along is the sharp script, excellent performances and confident directing. Solondz's use of suspense is particularly - and surprisingly - effective. Character motifs are well employed, particularly the classical strains that signify Allen's sexual confidence, though usually resigned to the end of a phone in his dank flat.
Solondz never lets us forget the effect characters' actions have on others. As we follow Dr Maplewood - there is always a lingering shot of a family portrait just metres from his most sordid act, foreshadowing the almost unwatchable conclusion.
But amid all the devastation, we see the central family together for the first time at the end of the film where Joy reminds that "Where there's life there's hope." It's no surprise that everyone murmurs an unconvincing agreement while Joy's father piles salt onto his plate hoping to speed along that cherished heart attack on the golf course. However there is some hope deep down, which stops Happiness falling into the very deep pit of misanthropy it might have done. There are some scenes of extreme tenderness - Allen in particular is shown a chance of redemption.
Happiness' controversy may be known by more people than have actually watched the film, but it is easy to see how it fully cemented Solondz as a director to watch, as long as you have the stomach for it.
Matt Goddard
|
