Solondz’s films are often controversial, and sometimes dull, but never short of being capable of rousing some sort of debate that tries to justify the subject matter or berates it for disguising shock subjects as art. 1998’s Happiness is just such a movie.

There were high hopes for Happiness. I watched it a few years back, and finally managed to get a hold of it again. It’s been a while since I sat down to watch it, fortunately most of the film remained vague in my head, and only sometimes did a scene seem reminiscent. I remember enjoying it the first time, but definitely with more delight back then.

On my second viewing, almost like a first, Happiness seems a little less interesting, and less controversial than it did once. The story revolves around a family and three sisters. Each sister is living a different lifestyle, each looking for true happiness within their lives, all assuming they already had it. The same is true of the family and all subplots that correspond to the title of the film. In this film, every character is essentially trying to find happiness, and the title is meant to be a self-referential ironic take on the lives taking place within the film.

Happiness is not out and out funny, nor can it really be categorised as a dark comedy. It has elements of comedy, much of which is dark, however, I found the social commentary and subject matter to be dealt with in a much more serious manner than I initially gave it credit for.

You could argue that subjects such as paedophilia should not be given the sort of dark comic presentation that Happiness presents, but then you have to ask if you would prefer some much more graphic. I think that’s the key with Solondz deals with the subject, with suggesting rather than visual explanation. To that end, Solondz can be credited for managing to handle a subject that is sensitive, with humour and care.

Although paedophilia is not the core subject matter; the other topics include that of despairing loneliness; rape; masturbation as well as murder. All of which is managed with a degree of humour, but the humour is slightly lacking. It’s not dark comedy either; it just comes across as an example of patheticism on the part of the characters; a moment of insanity or fear. Not everything about Solondz’s work is dark comedy, and those going into the film hoping to find a sniggering riot will be sorely disappointed.

Acting wise, everyone plays their part pretty well. The film comes across as a darkside of American suburbia – the world that conservatism and the middle-class’s would never wish to raise to question. The sort of people that believe, “Some questions should never be raised”. In that sense, it makes a mockery of those of such mind, and does so with a degree of wit and humour that will pass them by; instead igniting their fury and their morale pickets outside their local Government representative as to how sick and depraved such a film is. Fortunately, it’s been about 6 years since the films release and that nonsense and controversy died down long ago.

I particularly enjoyed the opening performance by Jon Lovitz, who was fantastic as the bitter, malicious, broken hearted Any Kornbluth.; Philip Seymour Hoffman as the perverse, repressed, introvert was also hilarious and interesting to watch as Allen. Dylan Baker gives a creepy and memorable performance as a father and as a child molester, able to scare and care at the same time in the form of Dr Maplewood.

The intelligent thing about the film is perhaps it’s choice to bring out into the open all of the subjects it plans to communicate to the viewer within the first 5-10 minutes of the film. It gives the viewer time to decide whether or not it’s a film to their taste, or a film they simply will throw up at watching. A smart move on the part of Solondz, and whether intentional or not, you can’t argue that you didn’t know what the film would be about.

One of the biggest joys when watching a Todd Solondz film is knowing that he neither panders to conventionalism, nor does he ever feel the need to hold back anything he wishes to express within his films. They are often bleak, depressing, monotone in subject matter, but multi-layered.

The characters sometimes do come across as one dimensional, and he does have a habit of dragging things on a little (yes it’s possible you may become bored). Still, he deals with subjects that most directors, producers and film companies would definitely shy away from.

If you’re the sort of person who finds films like Thirteen or Spun modern and controversial, then you’ll probably find Solondz work a bulldozing kick in between the legs. He has no intention to sell out to Hollywood, and continues to make interesting (though not always executed successfully), independent films that will challenge the viewer as well as engaging them with controversy that may traditionally turn them away.

It’s difficult to say who would enjoy this film, simply because most of those who I’ve asked found this film to be less enjoyable than the previous effort, Welcome to the Dollhouse, which was perhaps openly more accessible than Happiness.

Happiness is definitely the stronger of the two films and, personally, I find each of Solondz’s films to be refreshing and different with each subsequent release; all dealing with same subject of anxiety, fear and depression amongst others. He’s definitely a smart director, writer and producer who doesn’t pander to what’s in and what’s out, instead focusing on what he wants to do; much like Lynch (who’s recent efforts were perhaps more commercial than I would have liked, but still Lynch by style).

You can’t praise a film because of the issues it takes on-board, nor because it’s director is willing to take risks. However, you can’t dismiss Solondz’s personal touch within his film, where the subject matter not only disperses from his slightly unhinged and intriguing mind, but also seem to be issues that he has an interest in making people question.

Fortunately, aside from being a controversial, independent director, he happens to make some really good films; films that most people would find boring and disturbing. Happiness is disturbing to many; for me it turns out to be almost as refreshing, darkly humoured and intriguing as I first watched it, if not as much. Solondz still ranks as one of the most interesting directors around, and certainly a patch above the nonsensical commercial crap that sells itself as film in the form of the latest Vin Diesel (to coin a phrase) genericana borebuster.

Verdict: Solid, challenging and darkly humoured piece of warped American life. Sometimes shocking, but only because it’s possible