Happy End

Forget all other reviews. Agree that Haneke is not for everybody. Not absolutely sure it is his best. As with most movies these days, one has trouble finding one's bearings during the first half hour or so. So may need to be watched more than once and it definitely should be watched twice at least.

The movie is very Haneke, very contemporary, A fresco of today's human condition by looking at the exquisitely delineated characters within an upper class French family. Hupert and Trintignant brilliant as usual, the teenager protagonist a total revelation. Technology, immigration, race and inequality traumas thrown in along with the usual dose of existential angst.

Likely to become a cult movie. Don't miss it.

If anybody thought after seeing 'Amour' and especially its ending that Michael Haneke turned to be a little bit softer towards its characters and show them some mercy, than his or her expectations will be definitely be contradicted by his most recent film 'Happy End', which to many extends deals with the same theme - the end of the road that expects us all, death and how to cope with it.

The high bourgeoisie class had already had its prime time in cinema. Luis Buñuel is the first great director who comes to my mind, with his sharp and cynical visions in movies like 'The Exterminating Angel' and 'The Discreet Charm of the Bourgeoisie' . Their universe receives a deep and detailed description in this film, we are in the 21st century but the change seems to be more in technology rather than in morals, inner relations, or the way the upper classes relate to the world around - servants in the house, partners and employees in business, or the immigrants of different colors of skin who also populate the Europe of our times. The name of the film, 'Happy End' may as well refer to the sunset of this social class or to the mercy killings of the old and suffering.

We know from his previous films that Michael Haneke is not concerned about breaking taboos. This film attacks several as well. Innocence of child is one of them, the young age being seen not that much as an ideal age, but rather as the period when seeds of evil are being sown. We have seen something similar in 'The White Ribbon'. Respectability of the old age is another, and the character and interpretation of Jean-Louis Trintignant is the proof. There is decency in his attitude, but it derives from a very different place than the usual convention. At some point it seems that the old Monsieur Laurent tells a story that happened to the character also played by Trintignant in 'Amour'. Themes are recurring, but what the attitude of the script writer and director is as non-conventional as ever. One new perspective in this film is the exposure to the Internet and to social networking. These play an important role in the story, part of the characters share their feelings and send their hidden messages in the apparent darkness of the digital networking. The sharp critic of the director towards the surrogates of human communication is evident, but he also borrows brilliantly the format of the smartphones screens and uses them to open and close his film. 'Happy End' is (almost) another masterpiece by Michael Haneke.

"All happy families are alike; each unhappy family is unhappy in its own way." Tolstoy, Anna Karenina

If you'd like to feel good about your family, then see Happy End, written and directed by an Austrian, Michael Haneke, with a dollop of Euro horror that seems to combine elements of Roman Polanski and Mike Nichols. This family flirts with self-destruction across the generations.

Patriarch Georges Laurent (Jean-Louis Trintignant) is celebrating his 85th birthday with enough of his wit left to remember he dispatched his ailing wife to the next life out of concern for her pain. Similarly his granddaughter, 13 year old Eve (Fantine Harduin), attempted to poison a classmate and recently to commit suicide. Across the generations, this is not a happy family. However, a happy end they may have if even-keeled, task-oriented Georges' daughter, Anne (Isabelle Huppert), prevails. Not likely.

For all their wealth, each member, even comely and charming daughter Anne, is unhappy, she with a grown son, Pierre (Franz Rogowski), who is not socially or mentally well balanced. He can't even sing Karaoke without endangering his life. That Karaoke scene is a keeper in modern cinema.

Yet the family does ritual dining and socializing, right down to inviting friends and relatives to an intimate concert that is not euphonious to say the least. Just another off-balance moment. All the pretty dining and servants can't mask the undercurrent of familial larceny.

Haneke's use of modern technology from the live-streaming video during the opening bathroom scene to the exposure of a love affair through instant messaging casts an unflattering, harsh light on whatever the family may want to hide but can't. Even a work accident is seen through a security camera. As in Haneke's Cache, surveillance is revealing but never a solution.

Anne's engagement party could have been the democratizing of this family, but rather becomes a debacle when Pierre brings unannounced African immigrants with the beginnings of a diatribe against immigration policies. The result is mutilation, not reconciliation.

Happy End will not have a happy end for audiences unwilling to do some heavy thinking about the various puzzle pieces from each episode that eventually create a mosaic of modern bourgeois dysfunction. As such, the film may be difficult and tedious for general audiences.

Privilege has inured the principals to the plight of the servants in their household (the dog-bite sequence is particularly unnerving) and the unwanted immigrants at their wedding. This scurrilous neglect, passed down to generations, reflects not just a French problem (they are in Calais, after all, the port for refugee chaos) when the audience may consider the growing class disparities around the world and callous care about the poor and homeless.

Happy End, in the end, is about cankerous abandon in privilege, whose end may be no less than murder and suicide. Whatever, it's not pretty but a rewarding artistic experience.

I viewed Haneke's entire filmography back when it was all available to stream on Netflix, and I believe he's the most important filmmaker alive today. Even his movies that are my least favorite (71 Fragments, Time of the Wolf) have scenes that are mesmerizing, moments of resonance that linger with you long after the credits have rolled. Because I can't say the same for Happy End, I worry that this film might be his most unremarkable.

Certainly, like all of Haneke's films, Happy End is beautifully shot, realistically acted, and has enough suspense, tension, and thought-provoking insight to keep the mind active. A scene late in the film between the patriarch (Jean-Louis Trintignant, doing a variation of his role in Amour) and his granddaughter (Fantine Harduin) is a standout; for a moment, it seems as though a heartfelt interrogation between a man at the end of his life and a woman at the beginning of hers might reveal some secret about the ultimate meaning of living, though of course it turns out that neither of them has any idea what it all means. This scene intrigued me, but it still left me disappointed.

Likewise with the climax, which, I think, attempts to pull off something similar to what he accomplished with Funny Games. Funny Games was ultimately a critique of the spectacle of violent entertainment, frequently asking the viewer to pause and ask, "Why the hell did I pay to see this? What enjoyment or edification was I expecting from seeing a family get tortured?" It seems to me that Happy End hints at something comparable at the dinner party towards the end, when the camera moves away from the suffering of these miserable, self-hating, filthy rich, and terribly boring people in order to briefly highlight the lives of refugees who are trying to escape to the economic opportunities of the UK. Here Haneke seems to ask, Why'd you pay to see the haute bourgeoisie simmer over their self-inflicted "problems" when there are real things at stake in the world? All the same, this jab is perhaps too subtle and ultimately stings of the "contempt for the viewer" that so many detractors have always accused Haneke of having but which I've never actually been able to detect. If that's the case, why make this expensive-looking movie at all? Why not make a different film--either one that more consciously highlights the refugee crisis, or one that more scathingly indicts the chamber drama genre?

Haneke trains his incisive gaze on many interesting issues throughout Happy End--psychopathy, greed, social media, suicide, depression, euthanasia, immigration, class conflict, corporate liability--but what he ultimately stirs up is a lot more tired, a lot less insightful, and far more "meh" than anything he's ever produced before.

Beautiful, tender as flower and " light" in terms of Haneke's style - I expected it to be hard & taught.

Movie appeared to be the life story of few generations that are stuck in life. Somebody succeeds to leave successfully, somebody - not. Those who stuck do not suffer - they just lead the regular life - betray wife, indulge in sexual experiments, fight with spoiled kids, try to help refugees, solve probs at work & at home - regular lifetime routine.

In some moments boring (by the way, as our everyday life) and in some extremely beautiful as the sea, movie is calm, tranquil and spectacular.

We are all stuck and it's up to us to decide which direction to go - to go in or to go out.

I would like to write about last episodes of the movie: touching, deep, white, bright sea and the seaside are reminding me Marcelle Proust and Balbec times of his novel...

One can watch and be bored from the watching- but, probably, this is exactly the effect Haneke is aiming to achieve.