★★★★ / ★★★★
“Happiness,” wrriten and directed by Todd Solondz, is one of the snarkiest dark comedies I’ve seen about a very dysfunctional family and several people connected to them. Trish (Cynthia Stevenson) thought she had a perfect life but was completely unaware that her husband (Dylan Baker) was lusting over little boys, Helen (Lara Fylnn Boyle) was a successful author yet she could not find contentment within herself and had to turn to a creepy caller (Philip Seymour Hoffman) with serious sexual dysfunctions in order to feel better, and Joy (Jane Adams) was a struggling musician/saleswoman/teacher who decided to sleep with one of her foreign students in hopes of finding true love. Meanwhile, their parents (Ben Gazzara, Louise Lasser) decided to separate. This film reminded me of a darker version of Robert Altman’s “Short Cuts” in terms of the amount of characters it had to put under the spotlight. However, I had more fun with this movie because, while it was not as elegant and subtle in establishing themes, it was quicker and sharper in pointing its fingers at both the audiences and the characters. “Happiness” puts life-in-suburbia movies like Sam Mendes’ “American Beauty” to shame because it is far less pretentious but funnier because it actively argues that all of the self-denial, sickening realizations, self-hatred were a part of human nature. While it does make fun of those attributes, there were sensitive moments when the characters felt real pain, such as when the father finally admitted to his eleven-year-old son that he molested other children, between the black comedy punchlines. I thought the movie was daring because it was not afraid to push the audiences into watching uncomfortable scenes, slapping us around a bit with tricky verbal masturbation, and making us look and endure through the characters’ decisions–the very same decisions we probably would have chosen ourselves if we were just as desperate and suffocated. Fans of over-the-top social satires will most likely find “Happiness” delectable although I am not quite certain they will be craving for more after two-and-half hours of misery, isolation, and even exploitation. Generally, I have a positive outlook of the world but I love movies that ooze of negative emotions and self-deprecating characters. I’m not sure if most people who share similar outlook will fully enjoy the movie because it is at times difficult to sit through given its many taboo subject matters (there’s also a twisted murder mystery which I wish the picture explored further). However, it cannot be denied that Solondz’ “Happiness” pushed the envelope beyond the laughs and hopelessness.
Single Man, A (2009)
★★★★ / ★★★★
Tom Ford’s first feature film “A Single Man” embodied beauty from the inside out. Colin Firth plays an English professor who recently lost his partner (Matthew Goode) for sixteen years and is contemplating suicide. We get to observe what he does by himself from the moment he wakes up and how he interacts with others, such as his long time friend (Julianne Moore) next door, a Spanish stranger (Jon Kortajarena) and a student (Nicholas Hoult) who shows interest in him. We also got a chance to hear his self-deprecating thoughts and see tender fragments of the past when his lover was still alive. I love how this film felt more European than American. When it comes to its aesthetics, I was mesmerized by how everything seemed to glow due to the perfect lighting, how the wardrobes (with perfect creases at just the right spots) perfectly reflected the era, how the close-ups of the actors’ faces gave us information beyond what was said, and how the presence (and absence) music highlighted the emotional rollercoaster that the lead chaarcter was going through. Firth was simply electric. I totally forgot that I was watching him because I’ve never really seen this side of him before. I’ve seen him excel in romantic comedies but never have I seen him so controlled, so sad and so conflicted. There were times when tears started welling up in my eyes because I completely sympathized with what he was going through. Not only did he lose the person he loved as much as he loved himself (or maybe more), he lost a sense of security. At one point in the film, he lectured to his class about fear and it said so much about his own psychology. Goode was so charming, it was easy to see why Firth was so in love him. Moore was also sublime as an aging woman who still had feelings for Firth but had to control herself because she knew about his lifestyle. The way she hid the pain from her husband leaving her and her son not caring about her by immersing herself in alcohol and make-up was quite moving. I also loved Hoult as the student who saw profound sadness in his professor. (Admittedly, I thought his American accent was a bit off but maybe it was because I was so used to hearing his real accent in “Skins.”) His swagger was just so appealing to me; I couldn’t take my eyes off him. Lastly, the appearance of Kortajarena shocked me in so many ways because I was used to seeing him in high fashion photographs. Even though he wasn’t in the movie much, an acting career is a possible road for him. Ford highly impressed me because this was his first time directing a full feature film. The complexity in which he balanced the picture’s emotions and looks really drew me in–a quality that is sometimes absent even with the most experienced directors. I’ll definitely be on the look out for Ford’s next project. “A Single Man” is an ambitious film with tremendous and sometimes lowkey performances. It may not be the best film of the year but it certainly is one of the finest.
Boy Culture (2006)
★★★ / ★★★★
This surprised me because it looks like a typical indie LGBT movie but it manages to rise above its clichés and tell a meaningful story about three roommates who genuinely love each other despite their differences. Derek Magyar is a male hustler who is self-deprecating but sensitive, Darryl Stephens wants to sleep around more but is anxious whenever he has to visit his family because they are not aware of his sexuality, and Jonathon Trent is pretty much like Magyar and Stephens’ kid because they took him in when he has nowhere else to go. The way this film played with the dynamics of the three characters made me care for them at their worst and laugh along with them when whenever they’re put in awkward or embarrassing situations. There are barely any sex scenes, a quality I like in LGBT films, because the focus is more on the characters’ emotional motivations than their physical yearnings. It’s very easy to shed one’s clothes but very difficult to shed one’s soul. As for the hustling aspect, I didn’t care much about it except for when Magyar’s most recent customer told his story regarding his first love. Those moments were touching because Magyar learns from an older person and applies the story and its lessons to his own life. Even though the characters do stupid things sometimes (like most people), they’re smart in their own way and insightful when they need to be. With a higher budget, I think this would’ve been something better because the script is already interesting. I applaud Q. Allan Broca (who also wrote and directed the hilarious “Eating Out”) because he was able to shape the story into something that the audience can really connect with.