Happy Endings

Don Roos wrote and directed this lively, sometimes poignant, but not especially funny comedy-drama centering around an abortion counselor's secret that she had given birth to her step-brother's baby when she was a teenager and quickly gave it up for adoption. In this role, Lisa Kudrow really excels with the writer-director's dryly observant style: she's loose but not flailing, inquisitive but not harping, apprehensive but not frightened. Kudrow (whose comic timing reminds one of Roseanne's in the early years of her TV sitcom) mixes a look of anxiety, despair, nervousness and anticipation with astonishing skill--even when her character is humiliated (or humiliates herself), Kudrow has a way of keeping all the flightiness grounded in some form of reality. Matching her, Maggie Gyllenhaal and Tom Arnold have some wonderful early scenes; she's a born user and a killer karaoke singer, while he plays the father of the gay 21-year-old drummer whom Gyllenhaal has already seduced and discarded. It's too bad we don't get more of this relationship, and also unfortunate that Roos covers up most of their dialogue with soundtrack music (it's a coupling which happens in montage). Roos plants little subtitles throughout the movie to help sort out who's-who, and this works to some degree (yet it's a relief when the device is momentarily given a rest). Some of the other story threads are dim (a couple of which center on gay men turning their homosexuality on and off like a light-switch), but Kudrow's work and Tom Arnold's natural, easy-going presence keep the film absorbing and often appealing. And nobody sings "Just the Way You Are" like Gyllenhaal. **1/2 from ****

Having tremendously enjoyed Don Roos' previous effort, the Opposite of Sex, I snapped up Happy Endings upon release of the DVD without knowing anything about it. Many of my friends didn't like the Opposite of Sex; when I asked them why, each confessed a dislike of Lisa Kudrow. When I noticed she was also in the cast of Happy Endings, and in fact plays one of the main characters, I figured I'd better shut up about mentioning my latest acquisition to some of those friends until I had a chance to watch it. Watch it I did, and I have nothing but good things to report. Like the Opposite of Sex, Happy Endings revolves around several gay and straight characters, with enough attention paid to both, thus ensuring that the film could appeal to a mixed audience. There is where all similarities end. While Opposite of Sex had a relatively up-front and focused plot, Happy Endings manages to juggle several plots and subplots all at once. Each of the characters lives touch other characters lives in a style not unlike that of director Robert Altman. In fact, I kept thinking that the pacing and juggling of the subplots was somewhat similar to Short Cuts, or even Crash (in the way that Crash was also compared to Altman's style). Keeping everyone sorted out in my mind became something of a chore, but I generally like films that make you think and keep you on your toes. There were one or two surprises, including several totally unexpected plot twists, and that's always good too. As a comedy I didn't laugh so much as I smiled, and I asked myself more than once, "I wonder what will happen next". As the end credits were rolling I decided I enjoyed my visit with these people, and could easily have managed to sit though even more. How often do you hear that about a movie that runs over two hours?

The cast, which includes Tom Arnold, Jason Ritter and Jesse Bradford give even and professional performances throughout. It worked in a way that good ensemble pieces always work; that is, it would be difficult to single out any one member of the cast, as they worked off each other in such a way that no one could expect all the notices. Another good thing, in my book. I am definitely going to suggest to my friends that they give Don Roos another shot, Lisa Kudrow and all. I can certainly think of worse ways to spend a couple of hours.

Don Roos's 'Happy Endings' is a splendid comedy drama about complex people and their complicated relationships and pursuit for significance. It tells the story of lost people who are in search of something to feel important. Saying more would be giving out too much but as the viewer travels along with these characters in their search for happiness we learn how they find something to hold on to and that a happy ending need not necessarily be the fairy tale ending that we all know does not exist. In my humble opinion, this movie has one of the best endings. Don Roos comes up with a totally original complex and he tells the story beautifully. The execution is superb and I liked reading the captions. His quirky characters are richly defined and even though they are not always likable, they are sympathetic. The soundtrack is wonderful and it introduces Maggie Gyllenhaal's singing talents. Clark Mathis's cinematography is first rate. A cast could not get any better than having Lisa Kudrow, Steve Coogan, Jesse Bradford, Bobby Cannavale, Jason Ritter, Laura Dern, Tom Arnold, Maggie Gyllenhaal, David Sutcliff, Johnny Galecki and Maggie Gyllenhaal in one film. All of them perform excellently. This should be proof enough that Lisa Kudrow can carry a film as lead actress. Coogan too is very convincing as Mamie's stepbrother. Gyllenhaal and Bradford prove that they are two of the finest actors of the current generation. Laura Dern is very effective in a small role and I like how Tom Arnold plays the incredibly naive do-gooder dad . I have already watched 'Happy Endings' a couple of times and it doesn't get old. I don't know if it's the kind of movie that would appeal to a majority of the general movie watchers but it is one of my all time favourite films and I look forward to anything by Don Roos.

When a movie resorts to sidebars to explain the plot, especially as much as this one does, it implies that the writer has gotten lazy with his story development. A well-written movie could tie things together without the self-consciously cute little blurbs. I mean, the blurbs even tell the viewer right up front that this is a comedy -- in case you were wondering??? The saving grace is the acting. Tom Arnold, Lisa Kudrow and Maggie Gyllenhaal give great performances and really make their characters three dimensional. And each story unto itself is pretty interesting. The gay couple story was a bit trite and clichéd as far as the depiction of homosexual couples, but was still serviceable and interesting. I guess if I were to fix the story I would have strengthened the bonds between plot lines or I would have separated them completely. The tie-in between Otis and Mamie's stories was tenuous and tacked on. It's as though the writer were cheating a bit. Here we have some great stories and duologue. The acting is very good. But the writer didn't spend the extra time it would have taken to really craft the story into a cohesive whole, rather than resorting to the whole "indie" flick dodge of incomplete, fragmented storytelling passing as "art."

I rented this film out of brotherly love, and it actually starts with a very different act of brotherly love as well...but not the good kind. I didn't even realize this was the director of The Opposite of Sex until discussing this with a friend.

Anyways, I don't find this to be a comedy, as it is as bemusing as it is amusing. Roos does give a handful of actors chances to go over the top, which works while also giving this a sort of sitcom feel. At the same time, touching upon people's need to have some dirt, or special secret in their lives and using the old movie-in-a-movie trick makes certain this isn't a film that was knocked out as poorly as Mamie (often pronounced Mommy it seemed to me) was knocked up.

The film is a celebration of quirkiness, which thanks to avoiding clichés works okay for me. It actually drew my wife in to watching it with its sort of soap operatic maneuvers. Although the series of false endings, then more denouement, then another false ending she found maddening. She also was distracted by the text sidebars that give us an omnipotent wink as to what is going on, and in some cases completely undercut the dramatic tension going on. Just don't watch the film with subtitles on at the same time...

The idea of the quest for the lost son, as opposed to lost father also was interesting, but this film likes its characters more than its themes I suspect. Again, a sort of soap opera strength.

I recognized but could not place Jesse Bradford here, from his recurring stint on West Wing as a scion of political privilege. And same was true for Bobby Cannavale even goofier here than in the "Station Agent" Really the whole cast seemed to embrace their outlandish characters and I think that's this film's forte. Kind of like watching some nice juggling, and all the balls fall in place ultimately.

6/10