An other-worldly fairy tale, set against the backdrop of Cold War era America circa 1962. In the hidden high-security government laboratory where she works, lonely Elisa (Sally Hawkins) is trapped in a life of isolation. Elisa's life is changed forever when she and co-worker Zelda (Octavia Spencer) discover a secret classified experiment.
Guillermo del Toro
In Northern Italy in 1983, seventeen year-old Elio begins a relationship with visiting Oliver, his father's research assistant, with whom he bonds over his emerging sexuality, their Jewish heritage, and the beguiling Italian landscape.
The scene is set one Summer in La Ciotat, a town near Marseille which used to be prosperous thanks to its huge dockyard but has been in decline since its closing 25 years before. It is in ... See full summary »
If the screenplay of 'Happy End' is an indication of Michael Haneke's view on the world, it is a very bleak one. There is no happy end to this film; in fact there is very little happiness whatsoever.
Haneke's portrayal of a French bourgeois family is extremely dark. The grandfather wants to kill himself, the son is exchanging kinky chat sessions with someone who is not his wife, the grandson is a spoiled brat with a low self-esteem, and the twelve year old granddaughter is an angel-faced scoundrel. Only Anne, the daughter who runs the family business, is relatively normal.
The film opens with homemade smartphone video images, followed by images from a surveillance camera. It's Haneke's way of keeping distance from his characters: he is merely the observer. This is also emphasized by several scenes in which the camera registers the events from a distance. It's all typical Haneke, as well as the elongated scenes in which not much happens. Haneke doesn't make it easy for the audience: in the first half of the film, the scenes don't really seem to be related, only after a while things become more clear.
In some films by Haneke, these style elements work well and add value to the story. But in 'Happy End', it feels like they have become Haneke trademarks just for the sake of it. They're not drawing the viewer into the film but instead creating a barrier, preventing a full appreciation of it.
Still, if you're ready to get over some cinematographic hurdles, this can be a very rewarding film. Perhaps some elements are a bit too much, but at least it doesn't leave you indifferent.
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