Fear Anxiety and Depression

The lead character played by Soldonz is a cross between Woody Allen and Carrot Top, in mannerisim as well as looks. He's a loser dude with nothing coming who falls for the local performace artist chic who happens to be incredibly unavailable (big shock) The film is complex like Allen, but has the grit of all those sweet New York Greenwich art rock movies of the 80's (Liquid Sky, Mondo New York, Slaves of New York, After Hours) which I'm a real sucker for. I liked the pathetic details, and the way Soldonz doesn't gloss over the painful details. It's plain and gritty, but it works for me.

Dismiss the fact that, in the starring role and as author of the script, Solondz comes off as a Gen-X version of Woody Allen, get past that already-been-done persona and you'll find a fun little film here. Though the film centers on Solondz' character, to his credit as scriptwriter, he endows his supporting characters with fully developed and multivaried personalities and situations. This provides opportunity for the supporting actors to turn-in some terrific performances, most especially Jill Wisoff as Ira's (Solondz') insistent girlfriend Sharon (Oscar-Nom worthy, if you ask me). Some excellent compositions in the cinematography, some of the most eccentric locations you'll find in New York, and a downright infectious end-title song ("Neat Kind of Guy") make this a sure-bet for your video-renting pleasure. Not the best film, but it'll surely not be checked out from your video store and you'll definitely enjoy a few laughs.

In our present era, where love is a greedy algorithm (those who already have the most are the only ones who ever get more), Solondz is the best spokesman for the socially oppressed. His movies consistently make me laugh, unlike the usual "popular" Hollywood drivel. I can only hope that he doesn't sell out at least in the near future, as I'm convinced he's the next big thing. (I'm thinking what happened to Susan Seidelman and Amy Heckerling.) I noticed the little things in FAD: camera shots like something out of Godard, artistic spoofs of Magritte, Junk's Frankenstein's bride hair, Janis wearing a cheerleader jacket and eating ice cream, and the blinds that say "Always" and "Late". There is an attention to details overwhelming the flaws and showing the talent. The reality of winning and losing at love may not be changed by Solondz in our era. But he will show us its truth, and that can at least bring us hope.

While everyone seems to be pretending that writer/director Todd Solondz made his debut with "Welcome to the Dollhouse," his first effort was actually this comic look at NYC's underground art scene. (In his defense, Solondz did not have final cut, and he was not pleased with the results, so he has at least some justifiable motivation for trying to re-write history -- this film is not listed in his bio in the "Happiness" press kit, and I suspect many critics don't know it exists.)

So, how is it? Uneven, yes, but possessed of a biting wit (nowhere near as trenchant as it would get in Solondz's later, better films). Solondz also stars in the film, cutting an unusual but nonetheless memorable figure as Ira, an unsuccessful playwright who keeps hoping that Samuel Beckett will reply to his invitation for a collaboration.

"Fear, Anxiety and Depression" isn't for everyone, but if you find the title appealing, its sense of humor may tickle you as well. The Samuel Goldwyn Company (barely) released the film in 89/90, and you can still find it on video. Warning: Solondz's bizarre and funny love song "A Neat Kind of Guy" will get stuck in your head for DECADES.

I am a big fan of both WELCOME TO THE DOLLHOUSE and HAPPINESS, and didn't even know this movie existed until it was shown recently on the "Romance Classics" cable channel, of all places. (The only "star" acknowledged in the channel listing was Stanley Tucci, who does have a small supporting role.) This film tries too hard to be a wacky look at love for a loser (played by Solondz), and I found its wackiness to be both forced and intrusive. While it does contain some of the elements that are used so much more effectively in his later two films, such as an unblinking look at the ugliness in life, and strange songs with lyrics penned by Solondz, this film is not in the same league as either. It doesn't help that intentionally or otherwise, Solondz comes off as a annoying version of Woody Allen. Recommended for Solondz (or Tucci) completists only.