Tom and Gerri are happy.  They’re satisfied, established, enjoying the life they built together.  There’s no hint of any problems beyond the usual day to day struggles of life.  Using Tom and Gerri’s life as a venue, their friends and family come in and out of their lives throughout the course of a year, an episode for each season.  The two characters that show up the most consistently are Joe, Tom and Gerri’s son, and Mary, Gerri’s friend and coworker.  These two additional characters wonderfully remind us of both the hope  and the despair the idea of the future can elicit.  For Mary, it honestly could be too late to achieve a sense of fulfillment and satisfaction, feeling very much alone in the world.  For Joe, it is yet to be determined at the beginning of the film where he’ll be headed.  But it becomes pretty clear by the end, again, providing yet another fantastic comparison and contrast.

While there are differences in class in terms of finances, painfully illustrated as Tom’s family contrasts with the family of his brother when his sister-in-law passes away, it seems Leigh was more interested in exploring the distribution of happiness.  We’re often reminded throughout the film that the characters, more or less, started out on even ground.  Gerri goes so far to mention that they’re all ‘graduates.’  But life was kind to some of them, and very unkind to others.  The ending, which I will say is one of the best of 2010, is frighteningly inconclusive, and we’re meant, like all of Leigh’s films are designed, to be saddled with some very heavy and introspective questions.

Jim Broadbent and Ruth Sheen play Tom and Gerri.  Their performances are quiet but with subtleties done so well, the likes of them are not often seen.  Leslie Manville who plays Mary with a heart-wrenching performance that requires a consistently painful level of awareness of the lack of self-esteem, as well as a considerable amount of humiliation, as Mary often drinks too much and sometimes can’t reel in her stronger emotions (including jealousy).  It’s an over the top performance which could have benefited from toning down.  The star of the show is, of course, the writing.  It’s no surprise the script has been nominated for the Best Original Screenplay Oscar (although the likelihood of it winning are slim against the likes of The Kids are All Right and The King’s Speech).  Leigh’s ability to structure these rather dramatic stories into such normal and average, everyday life situations is remarkable.  The dialog is easy and relaxed, and it feels authentic.

As mentioned before, the ending is perfect.  But it’s not easy.  It’s devastating and difficult to digest, especially considering what Leigh might just be saying: happiness is not always given to the deserving.

4 out of 4 stars

Happy-Go-Lucky is written and directed by Mike Leigh.  Leigh has been directing since the seventies, and his bigger hits include Vera Drake (2004) and Secrets and Lies (1996).  His writing in this film rivals Britain’s The Office (without the incredible awkwardness).  The quick wit and sarcasm is remarkable.  The lead is named Poppy and is played incredibly well by Sally Hawkins (you may have seen her in a small roll in last year’s Woody Allen flick, Cassandra’s Dream).  She’s a thirty-year-old elementary school teacher with great students, great friends, and a fantastic outlook on life.  The problem is, she’s entering adulthood and fighting it all the way.

The opening sequence shows Poppy riding a child-like bike (with a basket and a bell) through downtown London(I think), waving at people she doesn’t know, a goofy smile glued to her face.  She enters a bookstore and tries to make friends with the stand-offish clerk, even though he strongly resists.  She goes straight to the children’s section and peruses the books.  It’s clear from this moment on, that she’s a child, refusing to grow up, despite a clear necessity, and the prodding of those around her.  Her unshakable sense of optimism is never shaken.  When she finds her bike has been stolen, she can’t help but laugh that she didn’t get to say goodbye.  Serious back pain (due to the trampoline lessons she takes after school) simply makes her laugh and start taking flamenco dance lessons instead.  These lessons, by the way, provide the setup for one of the funniest scenes in the movie where intensely passionate, and intensely unstable flamenco teacher (Karina Fernandez) loses control of herself.  Poppy is able to stay positive even during her weekly driving lessons with Scott (Eddie Marsan) who holds such pessimism and contempt for life, it seems it’s his aim in life to break Poppy’s spirit.

Poppy’s friends have the same, or a slightly higher level of emotional maturity.  They’re able to keep good jobs, and take care of themselves (for the most part), but still, they’re definitely not grown-ups.  Happy-Go-Lucky is a compelling character study.  Poppy never comes across as anything but polite, smart and charming.  But between the lines, we can see her brimming with something else.  Is it She can’t handle herself in adult situations or conversations, she isn’t able to add anything to these situations except clever jokes, and witty, but empty banter.  The film is really asking: are we happy?  Despite how much we try and prove to others that we are, it’s what’s inside that counts.  A perky exterior doesn’t mean that someone is satisfied with who they are, and where they are in the walk of life.

Leigh’s direction is terrific.  Sally Hawkin’s gives аn amazing performance.  You’ll laugh to no end.  And you’ll leave this film feeling great, while still taking away some important pearls of wisdom.

4 out of 4 stars

Rottentomatoes: 94% – Cream of the Crop: 100%