REVIEW: Happy-Go-Lucky (A)

What's the difference between an optimist and a pessimist - besides "attitude"? Perspective developed through experience? Patterns of thinking learned early in life? Enjoying the rain instead of cursing it? Surely I don't know, but I'm always fascinated and, frankly, frustrated at how easily people toss the terms around.

Does that make me a pessimist? I've been labeled as much by different people at different times in my life, and I've brushed it off with some ease, often calling forth every pessimist's favorite defense: "I'm a realist." Whatever that means.

Either way, I know what (or rather, who) I'm not: Poppy Cross, the subject and saint of Mike Leigh's Happy-Go-Lucky, which aside from perhaps pointing to Leigh's need for cathartic release after 2005's Vera Drake, also serves as one of the most uplifting and confounding films of the year. Those with a better handle on Leigh's filmography than me (I saw it as part of the Walker's recent Mike Leigh retrospective) have noted that it maintains Leigh's commitment to character while at the same time completely separates itself from his typically dire, dour stories. Seems reasonable, but all I know for sure is that it's been a while since I've related to so many characters in the same film.

There's Zoe (Alexis Zegerman), Poppy's loyal roommate of a decade who shares her glass three-quarters-full outlook on life but doesn't show it with nearly as much giddiness, likely because she's much better than Poppy at picking up on the nuances of other people's emotions. There's Tim (Samuel Roukin), Poppy's latecoming love interest who appears to be too caught up in the newness of love to understand Poppy's true emotional state; it's all joking and laughing and kissy flirting, but does he realize there may not be much beyond that? There's Helen (Caroline Martin), Poppy's older, pregnant sister, who chastises Poppy for her carefree lifestyle while at the same admitting that she's unhappy with her own marriage and life. There's Scott (Eddie Marsan), Poppy's woeful driving instructor, whose outlook on life is pessimistic at best and homicidal at worst.

And then, finally, there's Poppy (Sally Hawkins), an effusive sprite who believes her mission in life is to change the world one giggly grin at a time - she's the life of the party and the sun that breaks through the gray London sky. Although this bright disposition works wonders in her job as a kindergarten teacher (at times she seems like one of the students), it hampers her relationships with adults in her daily life, namely those I just mentioned but also her other friends, colleagues, and even strangers. Moreover, it's clear that she is unable to access some of her own emotions: joining a friend at a flamenco class, Poppy nervously laughs and stomps about, oblivious to the pain and passion that's supposed to be driving her movements. Sally Hawkins runs wild in this performance, and the early Oscar buzz she's received is deserving, perhaps only because of the amount of energy she is able to consistently channel through Poppy.

Speaking of which - while there are aspects of Poppy's character that seem true to life, she continuously toes the line of caricature (giggling upon discovering her bike stolen: "I didn't even get to say goodbye"), which threatens to prevent us from taking much of Happy-Go-Lucky seriously, or at least makes it difficult for us to understand Poppy's emotional potential. It's not that Mike Leigh doesn't have a handle on the emotions he's illustrating - not at all, just that some of the transitions are so jarring you find yourself rubbing your sore facial muscles as you leave the theater. Laughing, cringing, frowning, smiling, smirking, worrying - it's hard to know how we're supposed to be feeling and why (i.e., the scene with a homeless man and most of the interactions with Scott). If I had to direct any criticism in any area, it might be toward this emotional rollercoaster ride.

But at the same time, maybe that's the genius of Happy-Go-Lucky: Leigh allows us to connect with so many different characters at so many different times. Sometimes I felt like Scott, manically irritated by Poppy's inability to have any kind of serious conversation; sometimes I felt like Zoe, appreciative of the positive influence Poppy has on people's lives; and sometimes I felt like Poppy, confused as to why everyone is so uptight and unable to experience the joyful moments in life. All of these feelings were valid, and none of them felt forced upon me.

Poppy Cross, stuck on smiling...

As most "realists" would tell you, people like Poppy are due for a rude awakening. It's fitting that she has a small one in Happy-Go-Lucky, and it's refreshing when the resolution is both positive and realistic. I don't feel any more like Poppy now than I did when I saw it nearly a month ago, but I've since caught myself occasionally reflecting on my attitude in a particular situation. While there is terrific acting (especially by Marsan), brilliantly funny dialogue, and effortlessly relatable characters, it may be for that reason alone - that self-reflecting significance, that Happy-Go-Lucky should be considered a must-see.

Grade:
Writing - 10
Acting - 10
Production - 9
Emotional Impact - 8
Music - 5
Social Significance - 5

Total: 47/50= 94% = A