The common line in the British press so far on “Happy-Go-Lucky,” Mike Leigh’s alternately fascinating and frustrating new film, is that it’s a departure for him — an exuberant comic revelation following the spare, precise despair of “All or Nothing” and “Vera Drake.” How quickly we forget.
Such a funny film, a joy to watch all the way through. There is no plot as such its just life as it should be. The acting is so natural its like watching yourself and or friendswhen having a laugh about life.
In these days of negativity it is so uplifting to experience the life of the main character.
Simple but superb!
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The common line in the British press so far on “Happy-Go-Lucky,” Mike Leigh’s alternately fascinating and frustrating new film, is that it’s a departure for him — an exuberant comic revelation following the spare, precise despair of “All or Nothing” and “Vera Drake.” How quickly we forget.
Only nine years ago, Leigh gave us the similarly punctuated “Topsy-Turvy,” a period romp that in some moments rivalled “Shakespeare in Love” for broad music-hall humour. Even his biggest crossover hit, the 1996 Best Picture Oscar nominee “Secrets & Lies,” had a much more explicit comic tone than many seem to recall.
However, the most accurate precedents for “Happy-Go-Lucky” date farther back still: the film is not so much a new direction for Leigh as a throwback to the gentle character-oriented comedy and wispy, free-form narrative of his breakthrough features “High Hopes” and “Life is Sweet.” It’s a welcome move. As immaculately crafted and performed as “Vera Drake” was, it didn’t, for me, play to Leigh’s strengths as a writer: his witty ear for vernacular language and his preoccupation with the tensions and absurdities inherent in everyday conversation.
These qualities re-emerge with a vengeance in “Happy-Go-Lucky,” a film bursting with rapid-fire banter, cathartic outbursts and occasionally didactic speechifying. The inimitably fluid language of London’s multicultural, multi-class population is woven through the film’s every exchange; if Leigh could snag a Best Original Screenplay nomination for a film as comparatively underwritten as “Vera Drake,” it’s difficult to see him getting passed over for this.
The verbal pyrotechnics are sorely needed, mind you, for this is a film built on as slender a narrative thread as the auteur has ever created. Leigh regular Sally Hawkins plays Poppy, an indefatigably cheerful elementary school teacher living with her best friend in the quiet suburbs of North London. (Geographically, the film is situated squarely in Nick Hornby land, and in some ways, it’s not hard to imagine the benignly attractive, issue-free Poppy as a Hornby creation.)
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