Perdona e dimentica

Todd Solondz comes back one more time resuming stories about joy and sorrows, forgives, forgets and regrets, the same gears that leaded his previous works as Welcome To Dollhouse (1995), Happiness (1998) and Palindromes (2004), in one way or another.

Here the story surrounds the life of a kid and the members of his family that are trying to discover the meanings of when and how could people achieve the joy or the happiness in their lives just forgiving or forgetting something harmful enough to be forgotten or forgiven.

As always, Solondz plays with dark humor all the time just to relieve the weight of complex dramatic themes, giving the right balance needed to make real hard life discussions into something as ordinary as a breakfast.

The characters are well constructed and it's interesting the way they lead with the relationships between them. All the time 2 characters are discussing in a table or with something between them, using it like a place where they can put and throw - or sometimes hide - all their problems and differences but at the same time blocking and impeding the reaching of each other, like a battlefield.

Words are like guns and watching those characters hurting each other and using each other words like bullets is shocking because that's what we are, and we are responsible for that. Life During Wartime deals with complex themes, sometimes is a difficult movie for the raw, bitter and impacting dialogs, but you can't run away from them forever.

As another one said: "Todd Solondz is unique and so are his films. He forces you to look through an angle that we systematically ignore".

Great work once again.

First off, while I'm not a fan of everything Solondz has done, I consider Happiness one of my all-time favorite films. Thus, I was really looking forward to Life During Wartime, but after the film was over, I ended up wishing that Solondz had just left Happiness alone. It feels like a direct-to-video exploitation release, or maybe even an especially polished but ultimately off-model fanfic selection in an alternate universe where Happiness somehow holds the stature of Harry Potter.

I am OK with the decision (probably forced, given the current stature of folks like Philip Seymour Hoffman) to recast everyone involved. But given that this is effectively billed as a spiritual sequel, it's hard to get past some of the resulting serious discrepancies in performance and character. Ally Sheedy, Allison Janney, Claran Hines and Michael K. Williams all turn in otherwise-good performances that unfortunately have very little in common with their characters' original personalities, making believable continuation impossible. Dylan Snyder's Timmy represents a new character that effectively replaces the role of Billy in Happiness, but he's nowhere near as believable or likable as that character was.

Shirley Henderson, in particular, totally misses the tone and purpose of Jane Adams in the role of Joy, who was perhaps the only "sympathetic" character in the original (other than Billy). We no longer experience Joy as a sweet, lovable granola-crunchy dreamer and world-worn lifelong loser. Instead, Henderson comes off as some kind of generally-emotionless whispering wee faerie with none of Adams' warmth or ability to generate pathos. I do, however, greatly enjoy Paul Reubens' spot-on performance in the place of Jon Lovitz's original Andy-- although Andy's role in this movie is now inexplicably central, given how little he really mattered to Joy past the first half-hour in Happiness.

It's hard for a Happiness fan to get past the labored and extremely drawn-out exposition that results from all these character discrepancies. You get the feeling that Solondz is having to take unusual pains to catch us up on the story, and to get us to buy New Actor Y in the role of Old Actor X. The movie starts to finally lift up out of these dregs in the last half hour or so, just in time to make us wonder what the point was, and/or why he didn't just create an entirely new universe with his entirely new cast to save himself (and us) all the trouble. I can't imagine a viewer who has never seen Happiness would find its first two-thirds any more satisfying for all the effort.

Most troublingly for those who can't help but compare (and appropriately so, given the "spiritual sequel" billing), Happiness is a darkly hilarious movie, with most of the humor coming from the unspoken sadness and/or maliciousness of its desperate characters' interactions. Life During Wartime simply isn't funny, and isn't similarly "subtle." It's melodramatic, almost soap-opera-like in tone, with few of the wonderfully dissonant, squirm-in-your-chair moments that made Solondz' '90s works so entertaining (and so fun to show to the uninitiated). It often feels like we're being hit over the head with the "purpose" of each character in Wartime, rather than letting their actions / words simply speak for themselves as it was in Happiness.

This might have been a somewhat OK movie if it had been a fresh start with no baggage from Solondz' masterwork. Obviously, it's hard for any director / producer / screenwriter to escape from their widely-beloved past works if they choose to do something different. But in this case, Solondz actually *chose* to bring that baggage along, and dares fans of the original to make comparisons (as is immediately evident from even the opening scene and credits to anyone who remembers Happiness). I'm not sure if this was a cynical effort on the part of Solondz-- who has had documented troubles getting funding for his 00s movies-- to cash in on the relatively small Happiness fanbase, giving them a movie that they "have to see," even though these two films ultimately have very little in common.

Solondz' more recent work in general has been disappointing to me, but his misguided effort to "continue" Happiness has been by far the biggest and most bitter disappointment yet, failing to add anything new, interesting or even tone-appropriate to the universe he wants us to revisit. I desperately hope he's done making "spiritual sequels" now, and will have something really new to say (hopefully as funny as his old stuff) when his next project rolls around.

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.

I would really like to see Todd Solondz produce something on the level of WELCOME TO THE DOLLHOUSE or HAPPINESS again but I'm afraid that I'll just have to settle for watching those earlier works. To be fair, I don't know what he could have done with the characters from HAPPINESS that would have worked better. I revisited HAPPINESS before seeing LIFE DURING WARTIME to refresh my memory. That film crackles throughout with uneasiness. When we laugh, it's to release tension. It's not the cast's fault that this film lacks the same punch. While unrated in the US, my guess is that this would have received a PG-13 or an R for a few exposed breasts. HAPPINESS would have been NC-17 for sure. HAPPINESS was about getting whatever happiness one can no matter the cost to others. This is a film about forgiving and forgetting and moving on. I can certainly forgive Todd Solondz for what he tried to achieve here even as the film fades from memory.

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.