Del perdón al olvido

Todd Solondz is unique and so are his films. He forces you to look through an angle that we systematically ignore. There is an element of tenderness that permeates the darkest of corners and compassion emerges, limpid, clear even rational. This is, if possible, a sequel to his masterful "Happiness" The pain is still palpable but there is a hint of hope, China or not China. "I don't care about freedom or democracy, I care about my dad" Yes, I hear you kid. In the midst of it all, I hear you. Added bonuses: Cieran Hids as a scary, powerful presence. Allison Janney, one of the best American actresses working today. Charlotte Rampling makes an appearance as a sort of escapee from an erotic nightmare and don't you dare ignore or let this film pass you by. Todd Solondz is a great, startling American poet.

11 years after Happiness, his poisonous stab at moral absolutism, Todd Solondz returned with this equally bleak sequel, a continuation of the all-American domestic grotesque. The characters return, except now played by different actors (including a bleary Paul "Pee Wee" Reubens), as does Solondz' ability to challenge expectations with disarming directness and surgical precision.

This is a less consistent film than its predecessor, particularly in terms of tone. Happiness harboured an almost garish John Waters trash aesthetic, whereas Wartime often shifts into something more sombrely lit and handsome, even entering noir territory at times, as when Ciaran Hinds' Bill and Charlotte Rampling's Jacqueline meet in a whisky-coloured bar to do semantic battle before indulging in a bout of loveless sex.

The characters are mostly horror movie monsters masked in the fascia of suburban admissibility - none more so than Trish (Allison Janney), the selfish mad-mom who is delighted by the fallacy of the nuclear ideal, lusting after "normal". Her son, Timmy (Dylan Riley Snyder), is the traumatised voice of reason: a humanist on the cusp of corruption. Then there is Joy (Shirley Henderson), a deep-feeling adult alone amidst the animal chaos: frail, fragile and bereft (in mind and body); in search of absent metaphysical guidance; a closed book desperate to do good; desperate to stop pretending any more.

Loneliness, rape, suicide and despair all echo in a bubble of carefully constructed sentimentality. Wartime doesn't quite carry the joke all the way. Certain latter scenes, particularly involving Hinds' recently-released Bill, are played disconcertingly straight. But then this is a film about the pathology of forgiveness (the film's former title), the corrosive nature of trauma, and the final consolation of repression and faith - themes in which perhaps even Mr Solondz couldn't find the humour.

"You die for me and I will know you love me," says Allen (The Wire's Michael Kenneth Williams) from the grave. No one in American cinema is better than Solondz at highlighting fickleness and absurdity of human interaction, and the paradoxes we contrive for ourselves. And although it can be wearying to endure such an indictment, we will always need filmmakers willing to float like faecal matter in Hollywood's homogenous soup.

As a big fan of foremost Happiness and Storytelling, I'm very disillusioned about the fact that Todd Solondz may never make great films like those again. This was a disappointment, but not exactly a shock after the gloom of Palindromes.

I'm not sure if this is really supposed to be a sequel to Happiness in the normal sense, but yes, a lot of the characters from that one are back. Sadly Solondz has turned Joy from a half dysfunctional "loser" to a freak, and every scene with her is pretty unbearable. The dad from the first film has also changed a lot, but that makes sense seeing how he's been in prison for years when the film starts.

Palindromes sort of drowned in gloom and repulsion. LDW isn't quite the same but it's still bleak, and often creepy. At times it borders to psychological thriller.

I have to respect Solondz for making a philosophical effort, but if there was a specific point with the story, I didn't quite get it. There's the subject of fear and hysteria in the U.S all over, but other than that, I didn't get that much out of it. All in all it was like a (expectedly) weirdish film with a lot of darkness and absurdity. Happiness and Storytelling were dark but also very funny and balanced with a sort of pleasantness that I just can't see here. It's like a long nightmare.

Before Palindromes Solondz was to me possibly the greatest living director. I REALLY hope he either gets back to his old form or tries out something new that works better.

Caught this film at the Toronto International Film Festival. Life During Wartime is a depressing and envelop pushing film that crosses boundaries, but never feels gross or shocking for the sake of it. For those familiar with Todd Solondz previous films Welcome To The Dollhouse and Happiness, you know what type of material is in his films. This one is no exception.

Telling the story of a dysfunctional family, we follow 3 separate stories. The father, who was just released from prison after some cruel and disgusting charges tries to find his son, to make sure he doesn't turn out like him. The son is in college, he has two siblings, a younger brother who is turning 13 and becoming a man with a bar mitzvah and a younger sister who is a karaoke singer. The wife/mother is looking for a new lover in her life and finds this other man who makes her, in her own words to her 12 year old son, wet. Finally the sister of the mother who mixes romance and her work. The problem is that death follows her wherever she goes and it has kind of driven her crazy.

Get all that? This is my first Todd Solondz film, but I know of his previous films and what they dealt with and I can say that Happiness is darker. Life During Wartime isn't with it's fair share of uncomfortable scenes. Specifically the son asking about his father and why he is in prison. The father is played by Ciarán Hinds, who has little dialogue, but the scenes in which he confronts his son is powerful and stands as the most memorable. Paul Reubens plays an interesting character who's only two scenes, but those two scenes are stand outs.

Everything about the film is awkward, straight from the beginning. There are moments that you laugh at, that make you feel dirty. Janey as the mother is comical and if you're a fan of Happiness look out for some recurring characters, just played by different actors.

The film is well shot and acted, it doesn't really drag, but it is slow. It's mostly scene after scene of conversations. It's not a laugh riot and there are no laugh out loud scenes. The comedy is dark and subtle at times. It's more dramatic and depressing than comedic. It feels short and the ending leaves a lot to be desired. It was abrupt and left a lot of questions unanswered.

It explores how well one can forgive someone and mirrors reality. It will divide the audience and fans of his earlier work will most likely be satisfied. I enjoyed it, but it's not a film I would want to see again. I give it credit for being a well done film and it's thought provoking in some scenes, as a whole the film is good. It just has a certain audience and you'll know if you're one of them or not.

It's a sorta sequel to director Todd Solondz's 1998 film Happiness and the Jordan sisters. The characters are recast. Joy Jordan (Shirley Henderson) marries Allen Mellencamp (Michael K. Williams) who makes obscene calls and she is haunted by Andy (Paul Reubens). Bill Maplewood (Ciarán Hinds) is let out of prison serving for child molestation. His ex-wife Trish Jordan (Allison Janney) has to deal with her son Timmy finding out about Bill's crime. Bill starts dating Jacqueline (Charlotte Rampling). Trish is set to marry 'normal' Harvey Wiener (Michael Lerner). Helen Jordan (Ally Sheedy) is a successful screenwriter in California.

Recasting everybody has the weird sense of an alternate universe. It makes this a weirdly unreal movie. I can't say that the actors are inferior but they are different. I'm not a big fan of Happiness and this doesn't change that. I can't find any rooting interest in any of these characters. Some are downright kill worthy. The discussion between Trish and Timmy is so pathetic that it's almost funny. At least, it was memorable.