THE Norwegian title for this dramatic observation of families and relationships is “Sykt Lykkellig”. The English title has a French origin. It comes without advance promotion and you might be forgiven for expecting it to be a comedy or at least a little froth and bubble.
The rural house that Sygve (Henrik Rafealsen) and his delectable but barren wife Elisabeth (Maibritt Sarens) together with their adopted Ethiopean orphan son Noa (Ram Shihad Ebebi) have rented for Christmas stands opposite the house where Kaja (Agnes Kittelsen) and Eirik (Joachim Rafaelsen) live with their son Theodore (Oskar Brandso). The four adults are carrying emotional burdens. The film appoints Kaja as the central protagonist of a story in which love, jealousy, dishonesty, infidelity, anger, deception, manipulation and unkindness all occupy positions.
Despite that austere collection of attributes, the simplicity of its characters and their individual and intersecting behaviours make “Happy Happy” an engrossing film. Kaja is the standout, lacking overt strengths, the most emotionally vulnerable of the adults, a wife whom Eirik has not touched sexually for a year. Eirik is confused and depressed in several ways. His friendship with Sygve, despite Kaja’s infidelity, leads to an unexpected consequence.
Sygve also has issues arising from the strength of Elisabeth’s personality. She blames herself for her biological inadequacies and an affair which catalysed the move to the country.
On this dramatic framework director Anne Sewitsky has developed a gently-challenging film offering enough emotional variability to be interesting, even rewarding.
At Greater Union
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