Is all sex good? Or only some? Ugh! High school didn’t teach me anything!
Three sisters (Jane Adams, Laura Flynn Boyle, Cynthia Stevenson) all seem to be facing problems in their lives, but they aren’t the only ones. A husband (Dylan Baker) is struggling with being the right role model for his son, while also struggling with his pedophile-like ways; a socially-awkward man (Philip Seymour Hoffman) can’t bed the woman he wants the most; and an aging, married couple (Ben Gazzara and Louise Lasser) run into problems when one-half decides to sleep around and see whether or not they can be happy.
As is usually the case with Todd Solondz’s movies, almost every aspect of these stories are in some way, form, or shape, disturbing. It doesn’t matter whether they concern two people coming together, finding love, or some aging-couple trying to figure out if they are good enough for one another, because somehow, someway, Solondz is going to find his way to make it as disturbing as he can. For most writers/directors, this blatant attempt at really messing with our general taste for decency would seem rather showy and annoying, but for Solondz, it can sometimes works very well because the characters in his flick tend not to have much decency, either.
Just go for it, bro. What have you got to lose?
Then again, when you’re human, who needs such a silly thing as “decency”?
And that’s basically the whole point of Happiness: What it means to “be human”. A lot of the movie has to deal with sexual coming-of-age, masturbation, pedophilia, aging, philandering, and all of that other happy, joyful stuff, but the movie still treats all of these matters with some respect. Rather than having each story seem like it could only happen in a movie, where people speak and act as if they are in a movie, Solondz makes it seem like every character is a real-life person, you just don’t know it because underneath the whole charade and appearance, their real selves are waiting to come out.
Solondz knows that he is uncovering some real, brutal truths about what makes us human here, and he does not shy away from it in the least bit. This is refreshing to see because you need a guy who’s going to slap you in the face, tell you what’s going on in reality, and never let you forget about it. Sometimes, the grotesque dirty talk can be a tad overboard, but he still kept it grounded to where you could see people having conversations like this everyday. It’s just all a matter of what type of people I’m talking about because, as this flick will show you, there are some strange human specimens out there that are just waiting to be noticed, loved, and find happiness.
But hey, we’re all human, so don’t we all deserve a little bit of love, respect, and, well, happiness? Solondz argues this idea, but because his writing is so smart, it works. We care for these characters and understand them, even if we know that they’re sad and sometimes vile creatures.
And yes, the cast is so good that it helps us watch them more and more.
Out of the whole flick, Dylan Baker probably has the hardest role to make work, because of how creepy and unsettling his character is, but yet, also has to stay relatively sympathetic as well, to sort of make us feel like we can see where the hell he is coming from when he wants to touch little boys. It’s not supposed to work, but somehow, he makes it work. As the perfectly-named Bill Maplewood, Baker plays that type of dude you see in the park with his family, that looks so regular, happy, and joyful, but, deep down inside, is the most dark and disturbing soul imaginable. He’s that one in a million dude that seems to find away to hide who he really is from the outside world. Baker not only makes this guy creepy as hell, but also makes him seem like a real person in the way he is so desperate to make himself pleased and happy, that he will go to the end of the Earth to achieve it. It’s not an easy role, but it’s one that Baker plays with effortlessly, allowing us to see everything there is to see about this man.
But yeah, he’s not the only solid one in the cast, as there’s plenty more.
The era of blind dates; they’ll never end.
Playing another creep in this movie is Philip Seymour Hoffman as that weird dude in high school, who you never talked to, got shoved into lockers, was too afraid to take showers after gym class, and never spoke a word to anybody. However, the thing about Hoffman’s character in this movie is that he seems like the quintessential geek that always looks at porn and breathes down the hot girl’s neck, but you feel as if there is more to him than just that heavy-sweating and non-stop boners. Hoffman makes this guy interesting, as if more and more layers are going to be popping out of him at any second, but you never really get that and to be honest, we didn’t really need it. We see how he can be nice and find his true, inner-self, but there does come a point where you wonder just who he really is, other than that nerd you stay away from on the street.
And then there’s Jane Adams as the youngest of the three sisters who seems to be having the most problems with her life, for the main reason that she just can’t seem to get a grip on things. She knows that she wants to be happy, make money, be loved, find that special someone, start a family, and be successful, but she just doesn’t know how. The story that she has where she gets all hot and ready with a student of hers (Jared Harris, who has an odd Russian accent here) doesn’t really light up the screen, but the way she acts and looks the whole movie does. You can tell she’s confused, scared, and upset with where her life has gone, but you can also tell that she’s searching for the answers whenever they come to her quick enough.
Only time will tell with this poor soul.
But those three performances are, unfortunately, where the compliments for this cast and these characters somewhat stop, because they don’t all work. The problem I seemed to have had with Solondz’s framing-device is that there seem to be about five different stories going on at the same time, and maybe only two-and-a-half of them are even interesting. The others? Ehh, not so much.
The one story that should have really re-located our hearts to our stomach should have been the one with Ben Gazzara and Louise Lasser as the old, married-couple that are hitting an incredibly rough patch. So rough, that the one thinks that it’s time they call “a break” for a bit. What’s bothersome about this subplot is that it’s rarely focused on, but when it is, it seems to bring everything else down with it because it doesn’t tell us anything new or doesn’t even seem to be turning it’s wheels. It seems to just give Solondz a bit more freedom to play around with old people banging. It doesn’t work and only took away from the film. But there’s other stories here that are at fault as well, but mainly it’s Solondz’s.
Once again, he wants to disturb us, and that works.
Mission accomplished, I have to assume.
Consensus: Not everything in the dark and disturbing Happiness works perfectly well, but it’s amazing cast really does allow for these characters to come off the screen.
8.5 / 10
Daddy’s got some issues he’s got to work through.
Photos Courtesy of: Indiewire, Aflixionado, Claude’s Corner