‘Happy-Go-Lucky’: One of the Most Carefree Movies of 2008
- Director: Mike Leigh
Running Time: 118 Minutes
Rated: R
For: The optimist; classical comedy fans
Not for: Narrative-heavy, moody filmgoers
A plot based on how a person spreads happiness sounds very childish at first. Perhaps some people think about Disney films such as the recent Enchanted that is about a character’s unabashed love for all people. Happy-Go-Lucky, though, is not a children’s film but has a very similar yet grounded tale: the life of one woman’s happy-go-lucky attitude on others. The movie is a very classically styled comedic drama with a narrative arc that may be a bit too content in lacking a complete plot, but a tough, great performance from Hawkins and a sincere atmosphere and plot go a long way in creating thoughtful scenarios.
In Happy-Go-Lucky, Poppy (Sally Hawkins) is a 30-year-old, single primary school teacher who is one of the most optimistic and happiest people in North London. She always tries to smile and strike up a conversation with anyone she meets and always tries to make others just as happy as she. Joined by her eccentric roommate and fellow teacher Zoe (Alexis Zegerman), Poppy experiences a new adventure nearly every week from clubbing with her friends to learning flamenco dancing and seems to live life well until she meets Scott (Eddie Marsan), an angry-as-hell driving instructor who completely contrasts Poppy.
Happy-Go-Lucky is a difficult film to view as a whole due to its act-like narrative. It takes each scene almost as self-contained unit. This, in itself, is not a criticism as the execution is fine, yet the criticism lies in the lack of explanation. Since there is not a strong narrative arc, the plot runs around a bit like a chicken without its head. In one scene, Poppy may be in a school helping out one of her students and the next, she is talking to a homeless man. The intention is understood but the exposition is not. The film is simply too loose in keeping up with itself.
This classical style also affects the relationship the audience has with Poppy, as the audience never gets a true sense of who she is completely. Disparate parts of exposition are shown but never completely revealed in a deliberate attempt to have viewers focus on simply her actions, yet more interaction and knowledge about her family and how she came to be seemed like it would have created an even more engaging character. One other area this affects is the supporting cast. There are a bunch of engaging and memorable individuals within the film from the flamenco dance instructor to the other teachers at Poppy’s school. Unfortunately, they are, for the most part, not fleshed out and passed by. It would have been great to see more interactions and plot integration come with these memorable figures.
Yet oddly enough, this optimistic film is hypnotizing to watch due to several key choices. Sally Hawkins is one of those reasons. Playing Poppy, Hawkins has conceivably one of the toughest roles in 2008: a goofy, charming, and positive woman grounded in reality, which ultimately, is played magnificently here. One moment she is goofing off with her roommate, making paper bag bird heads for their students and the next, she is dealing with one of her student’s abusive nature. In a great dinner sequence, Poppy is asked by one of the teachers if she is single and if that must be a bother. Poppy replies with a laugh that it’s not a bother, and yet, her too happy gaze betrays her with a slight higher pitch in her voice. These slight complexities are seen throughout, backed by a real sense of joy and a seemingly destined role to bestow others with this happiness. Perhaps most impressively, the character feels sincere. This is Hawkin’s breakout role. And while the rest of the cast does not have such depth, they too are memorable while they last such as the angry flamenco teacher. More or less, they seem to represent foils of Poppy’s characters such as anger and fear. Marsan’s Scott is probably the most interesting supporting character out of them all as a complete antithesis to Poppy in which he screams at traffic and at Poppy while she laughs it off. In both a comedic and dramatic manner, Scott’s interactions with Poppy are probably the highlight of the movie and important in their content.
This is all complemented by the smartly written screenplay and soundtrack. The film takes a guise of a classical comedy with very smooth horns, in the soundtrack, always putting a light mood about the film. It is reminiscent of music one would hear when walking through a park next to a horn quartet: very jovial and carefree. Add to that a camera that is very classically trained in a medium long shot and smart set design filled with classic items such as bikes and boats with discussions concerning modern technology and culture included. It all adds to the happy-go-lucky atmosphere. The script and its given narrative are also well rounded. Although the complaint still stands that the film is too loose, this style gives the writers a chance to really contrast Poppy well with others and gives her a constant mission in spreading her happiness to others. Again, the best scenes come from the writing between Scott and Poppy. It is two opposite sides working completely at their best with hilarious results and memorable lines such as an explanation of ‘En Ra Ha’ along with a dramatic and poignant finish. The writing is witty, inspired and more importantly, the situations never feel out-of-place for Poppy as they are grounded in reality. Whether the situation involves trying to brighten the mood of a salesman to not caring that her bike was stolen, the situations all feel tangible and help bring a balance to Poppy’s joyous demeanor.
Happy-Go-Lucky is a strange yet delightful comedy that feels classical in its style and characterizations yet filled with modern insights. On the one hand, it’s a bit too loose and almost plays out as a series of separate events held together by some reoccurring events, creating some confusing scenes and their relevance. On the other hand, the film becomes an intriguing and humorous follow-through of Poppy on both her effect on others and others’ effects on her. Some may discredit it for not being edgy or always bringing something surprising or disgusting, yet it never tries to be that type of comedy. Perhaps the greatest achievement is Hawkins herself who presents a cheerful, vivacious demeanor that both grows on the viewers and feels so concrete and sincere. Along with some memorable characters, Director Leigh takes a snapshot of a person that may seem so unreal on the outside yet bristles with a true set of feelings within and lets the audience make their own mind on whether the happy-go-lucky life is worth living.
The Wie muses: **** out of *****
Ratings:
*****: Excellent
**** to ****½: Great
*** to ***½: Good
** to **½: Mediocre
* to *½: Bad
0 to ½: Terrible
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