79) Happy Go Lucky
Director: Mike Leigh
Year: 2008
Plot Summary: A look at a few chapters in the life of Poppy, a cheery, colourful, North London schoolteacher whose optimism tends to exasperate those around her.
The first time I watched Happy Go Lucky in 2008, my very first experience of a Mike Leigh movie, I was left underwhelmed. Lacking in much plot and featuring an annoying lead character, I found it to be a boring, monotonous series of encounters with little connecting them. However, on my second viewing, I enjoyed it very much. Having seen more of Leigh's movies, Secrets And Lies and Vera Drake, I was more aware of the style and I was able to understand what he was trying to say here.Last night was the third time I watched Happy Go Lucky and what I experienced this time was somewhat of an epiphany.
Poppy is a 30 year old primary school teacher who still just wants to enjoy living and has an optimistic view on the life. In the face of the world's sinister nature - whether it's when she has her bike robbed or when a student becomes violent and it's later revealed he's beaten by his step dad - she has the ability to remain unaffected and continue to find joy and happiness.
Poppy, who is spectacularly performed by Sally Hawkins, is someone who refuses to grow out of her childlike outlook on life despite her age and become a cynical, jaded adult - in the scene where she goes to get her back healed, her colourful, joyous nature contrasts with the situation in an extraordinary way to help enforce the idea that she's perhaps too old for such optimism. When her sister asks her about pensions and investments, for example, she laughs it off with the breezy attitude of someone who couldn't care less, and when a colleague quizzes her about her love life she responds in a way that makes it clear that Poppy isn't looking to settle down and commit any time soon.
Her job as a primary school teacher symbolises her childlike view of the world: she just wants to have fun and worry about the serious stuff later. Moreover, her clothes, which would be more appropriate for a 16 year old girl enforces this idea that Poppy is someone who has never grown up in the way that most other people have done.
After her aforementioned bike is stolen, she takes driving lessons from Scott. Brought to life by the always incredible Eddie Marson, Scott's an only child with a troubled relationship with his parents and, therefore, he's been forced to see the world as an evil place. He makes reference to satanic beliefs very often and sports a nihilistic view on life that conflicts with Poppy's. His job as a driving instructor, in my opinion, symbolises the transition between between the childlike optimism of youth and the cynical, jaded perspective that results from growing up. After all, learning to drive is one of the things that take you out of your youth.
This sets into action a subtle dilemma in Poppy's life: Does she continue to live with the same outlook as always and continue to be naive, happy and upbeat enjoying what life has to offer? Or does she come of age and accept the true, horrible, unfair nature of the world?
It's the kind of dilemma that, at some point, we have all or will all have to face in our lives. But, Happy Go Lucky is more than just an examination of what we should do with our lives. It's also a life-affirming piece of work that will leave you inspired to be more like Poppy and continue to hold onto that childlike outlook or seek to get it back.
For a film full of meaning and depth, however, Happy Go Lucky is also laugh out loud funny throughout. Leigh's trademark style of allowing the actors to improvise their dialogue helps pave way to some naturally hilarious lines from Hawkins and the cast that surround her. But, also, Leigh's subtle, unobtrusive style of director allows the dialogue between the characters to flow naturally and lets the meaning and heart of the movie be the focus of the viewer's attention.
It's beautiful, inspirational, moving, expertly made, hilariously funny, terrifically acted and boasts one of the most amazing lead characters that this last decade of cinema has gifted us with. Happy Go Lucky is an underrated masterpiece that makes me proud of British cinema and has shot way up into my top 50 films of all time.
5/5
5 comments:
Oooh, that's lovely. I've had it in my top list ever since I saw it (watched it twice in a row that first night). Excellent that you got a Leigh representative in your top list now. :)
I'll share my review (I recall I go into some depth).
On first impression, Mike Leigh's new film feels like a light-hearted, simple-minded and a briefly delightful flick. But when it comes to Leigh; you should enter with the assumption that you will leave drained from all other thoughts. Happy-Go-Lucky is no different. However, it has certainly got a balanced amount of comedic and dramatic elements, each outweighing each other once present on screen. The naturalistic and fast paced dialogue intertwined with slang and theory, with wit and sarcasm is contained for an intense, joyful and powerful viewing. Harsh and realistic danger is presented for emotional enhancement rather than the exaggerated situations in the conventional Hollywood film. We are set with a protagonist and remain with her to the end plus the pleasant charm of the British culture entwined.
Sally Hawkins shines as the lead, Poppy, in one of the best performances of the year, a seemingly naive extrovert with a very expressive and optimistic attitude towards life and all her hardships. She laughs at unfortunate events that she "suffers", such as getting her bicycle - her form of personal transport, of which she enjoys to wave at people whilst riding - stolen, as if it were a cruel irony and she gets the joke. This upbeat spirit is rarely broken, even if the polar opposite of attitudes comes into contact with her unless taken to the absolute limit. She is an inviting figure, one that which desires to inspire her mood and thoughts on life. In doing so, she becomes a primary teacher, when the mind is at it's spongiest. There is a scene where she experiments creativity with her long term roommate Zoe (Alexis Zegerman) in the form of cardboard boxes and more materials to make a bird-like costume. Poppy is the definitive authority figure in the film. To match her personality is the excessive clothes with often delicate unnecessary items just to provide bright colours in the darkest of hues in the scenes. This brightness transcends her performance and makes her my absolute favourite leading performance of the year.
The most expressive supporting performance comes from Eddie Marsan, as Scott, Poppy's driving instructor. However, his character is the opposite to Poppy's, always agitated and enraged when flaws occur. His character does not mix with her at all. The driving scenes are the utmost emotionally engaging scenes in the entire film and form the structure of routine giving a basis and understanding of the time frame therefore the development the characters go about in their relationships with each other - especially since they meet during his last shift so he wants to escape the working mode and enter the more relaxing mode of no responsibility. Scott constantly misinterprets Poppy's actions, as if she's sexually teasing him for her pleasure or patronizing his behaviour. During their rather short journeys of stopping, starting, arguing, repeating explanations - the tension really builds up. Everytime Scott's rage is starting to show Poppy strikes him down with a joke to calm him; or maybe herself. Happy-Go-Lucky had the power to make a grin evolve across my face then wipe it straight off again within the same shot.
(this blog is a pain for posting long stuff :P)
Right in the first ten minutes we are given the impression that Poppy has an active social life in a scene where she goes out clubbing with her friends. However, this comfort is very limited and only appears again with the most prominent support of Zoe (a wonderfully sarcastic performance which is an absolute joy to see everytime) - even more so than her family that do appear not necessarily in an agreeable situation. Even her love life, or the one relationship we see, was met during her work hours at the school whilst dealing with a rebellious student she is unable to control. There is also a rather striking and bleak scene in which Poppy encounters a tramp (played by Stanley Townsend) where he confronts her in a strange gibberish without a seeming understanding of his correct surroundings. This hobo is a symbolism of freedom, of complete and utter creativity with his language and imagination. When Poppy is presented with this person she is in a state of confusion as what to do.
This is the whole point of the film. Authority (Poppy), with it's intimidating and overbearing behaviour, overtakes that of the weaker society (the children), so fills their views when they'll most likely take it in without hassle and live by these thoughts. Despite allowing the children to express themselves through the medium of products she is still controlling them and not allowing complete freedom; yes, on the outside they may all be different, but technically they are all bird-costumes - therefore she is not able to properly inspire the creativity she wishes to do so. However, once presented with a form of society that has matured and developed their own opinions and morals it is more difficult to get through to them - hence the firmer attitude Poppy has to resort to in order to get Scott (this figure of society) to conform. The flaws become more prominent once authority is unable to abide by their own rules to make society work; which is shown during the dance classes as she is clearly out of time with everyone and making up her own moves. The freedom figure shows, screams and points out the unnecessities of this system, almost mocking it in it's confusion. Taking the ideas of "happiness" and "making life better" into perspective. Or a simpler interpretation and a completely valid one, is that Poppy is a child at heart, therefore her desire to work with children and therefore her dependence on the older flatmate and the fact she prefers to use a nickname as apposed to her real name (Pauline). Or possibly willfully ignorant.
Other than Sally Hawkins incredible performance, Happy-Go-Lucky's strength comes from the balanced script, cinematography and editing, with the ability to achieve a range of tones therefore reactions from the viewer. Natural and sharp dialogue makes for always compelling and entertaining viewing. The colour is pure eye candy, with bright bold shapes and no hues between the colours giving the film personality within itself - without the help of Sally Hawkins. The score adds to the delight with a bubbly mix of string and jazz, reflecting the main characters. Although I completely understand how someone can find these irritable, I, however, find them an absolute joy; never wanting the intense, rewarding, enriching and enlightening experience to end.
As always, a great review Mr. Moulton. :)
I loved the idea of authority ruling over the weaker society. It got me thinking about the movie in a whole new light. Especially seeing as Scott makes reference to that point in the scene where Poppy questions him about his school days. :)
The only thing I would debate about is your idea of the scene with the tramp. It was one of my favourite moments in the film, but I thought it was more to do with Poppy's child-like naivety.
Most of us would put our heads down and quicken our pace, but Poppy stops to chat. So I'd say it's there to give us a better insight into how Poppy's mind works. How she wants to make everyone happy - and, therefore, as Scott rightly says in the car towards the end, have everyone love her - without a care for her own problems.
Still, you really summed up a lot about why I love Happy Go Lucky. :)
You've pretty much seen all my reviews now to be honest. The ones I like anyway. Hah.
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