Always happy

Always happy

Northerly secrets and lies. Opera occupies first place of Anne Sewitsky.

Card

Movie: Always happy.

International title: Happy, happy. Original title: Sykt lykkelig.

Direction: Anne Sewitsky.

Country: Norway. Year: 2010.

Duración:92 min.

Genre: Dramatic comedy.

Interpretation: Agnes Kittelsen (Kaja), Joachim Rafaelsen (Eirik), Maibritt Saerens (Elisabeth), Henrik Rafaelsen (Sigve).

Script: Ragnhild Tronvoll.

Production: Synnøve Hørsdal.

Music: Stein Berge Svendsen.

It photographs: Anna Myking. Assembly: Christoffer Heie.

Production design: Camilla Lindbraten.

Distributor: Golem.

I release in Norway: On November 5, 2010. I release in Spain: On July 6, 2012.

Qualification for ages: Not recommended for 12-year-old minors.

 

Synopsis

Kaja and Eirik appears before us as an any family. They have a son fruit of its union and live in a single-family housing, in a rural place surrounded with nature. Normal if we are speaking about a country like Norway. This common life admits another qualifying adjective: bland. Suddenly the innovation arises and with her the illusion: a few new neighbors come. There are nice high places, and they have an adopted son (Ethiopian), slightly smaller than his. The relations with its neighbors will affect the relation of Kaja and Eirik.

Comment

Always happy is the first full-lenght film of the Norwegian director Anne Sewitsky (1978). The protagonist of the movie Kaja, is an optimistic woman who wants to be happy and infect from its happiness to those who surround it. In words of its director:« The happiness has turned into its engine, and the happiness, into a survival strategy». Next to you, apparent Eirik happiness. But it is only a front. Fruit of its union (and I do not use deliberately the word love) they have had a child, Theodor, who is on the verge of the adolescence. They help hopefully and illusion the arrival of a few new neighbors what will put upside down its bland lives. The newly arrived persons Elisabeth and Sigve, high, blonds, the most nice, are the paradigm of the perfect couple. They bring from a hand its adopted son, Noa, and from other one to its past. Everything seems perfect so that the happiness is the protagonist. They the women can turn into friends, confidants in addition to neighbors. They it is possible to turn in sports companions; and the children will find in the neighbor its games partner. But we are before a northerly movie and it is already known that one usually characterizes this type of movies why the histories do not remain in simple but they develop the misfortunes of the nations who lead them. Simple histories that they transform into existential traumas, where the feelings outcrop and verbalizan before a good wineglass.

Kaja is a woman who bears the type. It is no wonder that before the first opportunity that it has he looks for the happiness in awkward areas. Its husband goes on from her, does not even touch it, prefers to go away to "hunt" with its friends and its best ally has it in its terrible enfant, in his own son who helps him in the tantrums that cause Kaja.

Elisabeth and Sigve, seemingly, are the prototype of Scandinavian couple: high and nice, without grams of any more fat. Ideals, seemingly. Its arrival to this new hearth has been a product of an agreement that little by little will be revealed.

Nothing is what northerly snow-capped mountain seems in the icy place. The couple relation seems to freeze in the winter cold. But the new neighbors contribute heat, a human heat that will do that this relation is thawed. Each of the couples feels envy for other one. On having observed its neighboring ones (Kaja makes it very clear on having showed to its neighbor how it is possible to communicate from a window to other one, without going out of its houses), each of the couples sees the lacks in its relation. Each one is different and in this difference the attractive thing takes root. To little that you scratch there are going out the human miseries, pardon, the human condition is going out. We look for the happiness even at the cost of sacrificing what we have that it can be great or small, but it is our reality. We try to flee of her inventing to us new worlds, new illusions, new loves that help us to go along along the life, the bland and routine life that, let's want or not, it is the one that we have constructed ourselves. Two equal protagonists enjoy this small status that provides the marriage to them and down whose umbrella seems that there is assured the love, the well-being, and finally the happiness. But since everybody knows it is not true that this is a guarantee of the happy, happy that proposes the tape of Anne Sewitsky.

It turns out to be difficult to advance in this comment without revealing the reasons that each of four members has of these two couples to do what they do to me. But the wide-awake reader and spectator one can imagine what happens. Of course, with a small dose of surprise that puts the morello cherry to this rich cake. Perhaps something well-worn is the resource of the games of dessert to meet the protagonists, but: what can be done when around you everything is a snow and the thermometer is of the reverse?

The secondary plot that forms the relation of two children is very meritorious. Theodor is a reflex of the powerlessness and unease that there has its father, Eirik. And it expresses it with enough cruelty in Noa, an Ethiopian black child (the color of the skin is very important in this relation). The friendship between both and the grade of subordination between them is terrible.

It is of admiring this credible treatment of the dialogues. It is a comedy partly, but also always happy it has its good drama point. Before the question: "Do I do a sucking to you?» you turn around in your seat. But it is brave, it is honest and direct as it it is the intention of whom it is offered to such a need (imagine the face of the recipient of the offer). It does not have a big mulberry tree load, in the end the ending is the one that is and perhaps in the Kaja couple the moral is evident slightly more. On having gone out of the movies, it is inevitable to think about your own life, about your personal situation and to question if something trumps you, if you lack something and if you are entirely happy in your relation. Clear that I do not discover anything, this is one of the incentives that has the movies (or a good book, it is said all). In spite of that, always happy it does not have the intention of depressing anybody as in other northerly tapes where the human relations were more presided by the human tragedy. Its comical winks to contribute an agreeable freshness.

Interesting the small musical numbers, with a góspel quartet, inspired in the years 40/50 that they precede to the phases of the cinematic history (substituting the outstanding figure melted to black). The topics, in its letters, take certain ironic load that complements itself very well with the tone of the tape.

Always happy it is endorsed by the Award of the Jury to the best movie (category World Cinema) in the Festival of Sundance of 2011 and this is very much a guarantee. Perhaps if it was not that's why it would have happened unnoticed on not having been able to enter the commercial circuits for its distribution. It is of being grateful that the producer Golem bets in road surface for this type of movies as this way it is demonstrated by its catalog of movies (it is not the first one on that from here we comment and it has always been a wise move). And this has turned out to be endorsed by the Award Giraldillo of Gold to the best movie in the past European Film festival of Seville.

Finally, always happy is a movie with self-confidence, which puts on the carpet the relations of couples and the subordination that we have towards our own feelings. A reflective proposal that brings together very much reduced drama of subtle form with an ironic humor.

I leave the tráiler to you:

 

Square Luisjo

Magazine Atticus

 

 

 

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Always happy | Magazine Atticus

Always happy

Always happy

Northerly secrets and lies. Opera occupies first place of Anne Sewitsky.

Card

Movie: Always happy.

International title: Happy, happy. Original title: Sykt lykkelig.

Direction: Anne Sewitsky.

Country: Norway. Year: 2010.

Duración:92 min.

Genre: Dramatic comedy.

Interpretation: Agnes Kittelsen (Kaja), Joachim Rafaelsen (Eirik), Maibritt Saerens (Elisabeth), Henrik Rafaelsen (Sigve).

Script: Ragnhild Tronvoll.

Production: Synnøve Hørsdal.

Music: Stein Berge Svendsen.

It photographs: Anna Myking. Assembly: Christoffer Heie.

Production design: Camilla Lindbraten.

Distributor: Golem.

I release in Norway: On November 5, 2010. I release in Spain: On July 6, 2012.

Qualification for ages: Not recommended for 12-year-old minors.

 

Synopsis

Kaja and Eirik appears before us as an any family. They have a son fruit of its union and live in a single-family housing, in a rural place surrounded with nature. Normal if we are speaking about a country like Norway. This common life admits another qualifying adjective: bland. Suddenly the innovation arises and with her the illusion: a few new neighbors come. There are nice high places, and they have an adopted son (Ethiopian), slightly smaller than his. The relations with its neighbors will affect the relation of Kaja and Eirik.

Comment

Always happy is the first full-lenght film of the Norwegian director Anne Sewitsky (1978). The protagonist of the movie Kaja, is an optimistic woman who wants to be happy and infect from its happiness to those who surround it. In words of its director:« The happiness has turned into its engine, and the happiness, into a survival strategy». Next to you, apparent Eirik happiness. But it is only a front. Fruit of its union (and I do not use deliberately the word love) they have had a child, Theodor, who is on the verge of the adolescence. They help hopefully and illusion the arrival of a few new neighbors what will put upside down its bland lives. The newly arrived persons Elisabeth and Sigve, high, blonds, the most nice, are the paradigm of the perfect couple. They bring from a hand its adopted son, Noa, and from other one to its past. Everything seems perfect so that the happiness is the protagonist. They the women can turn into friends, confidants in addition to neighbors. They it is possible to turn in sports companions; and the children will find in the neighbor its games partner. But we are before a northerly movie and it is already known that one usually characterizes this type of movies why the histories do not remain in simple but they develop the misfortunes of the nations who lead them. Simple histories that they transform into existential traumas, where the feelings outcrop and verbalizan before a good wineglass.

Kaja is a woman who bears the type. It is no wonder that before the first opportunity that it has he looks for the happiness in awkward areas. Its husband goes on from her, does not even touch it, prefers to go away to "hunt" with its friends and its best ally has it in its terrible enfant, in his own son who helps him in the tantrums that cause Kaja.

Elisabeth and Sigve, seemingly, are the prototype of Scandinavian couple: high and nice, without grams of any more fat. Ideals, seemingly. Its arrival to this new hearth has been a product of an agreement that little by little will be revealed.

Nothing is what northerly snow-capped mountain seems in the icy place. The couple relation seems to freeze in the winter cold. But the new neighbors contribute heat, a human heat that will do that this relation is thawed. Each of the couples feels envy for other one. On having observed its neighboring ones (Kaja makes it very clear on having showed to its neighbor how it is possible to communicate from a window to other one, without going out of its houses), each of the couples sees the lacks in its relation. Each one is different and in this difference the attractive thing takes root. To little that you scratch there are going out the human miseries, pardon, the human condition is going out. We look for the happiness even at the cost of sacrificing what we have that it can be great or small, but it is our reality. We try to flee of her inventing to us new worlds, new illusions, new loves that help us to go along along the life, the bland and routine life that, let's want or not, it is the one that we have constructed ourselves. Two equal protagonists enjoy this small status that provides the marriage to them and down whose umbrella seems that there is assured the love, the well-being, and finally the happiness. But since everybody knows it is not true that this is a guarantee of the happy, happy that proposes the tape of Anne Sewitsky.

It turns out to be difficult to advance in this comment without revealing the reasons that each of four members has of these two couples to do what they do to me. But the wide-awake reader and spectator one can imagine what happens. Of course, with a small dose of surprise that puts the morello cherry to this rich cake. Perhaps something well-worn is the resource of the games of dessert to meet the protagonists, but: what can be done when around you everything is a snow and the thermometer is of the reverse?

The secondary plot that forms the relation of two children is very meritorious. Theodor is a reflex of the powerlessness and unease that there has its father, Eirik. And it expresses it with enough cruelty in Noa, an Ethiopian black child (the color of the skin is very important in this relation). The friendship between both and the grade of subordination between them is terrible.

It is of admiring this credible treatment of the dialogues. It is a comedy partly, but also always happy it has its good drama point. Before the question: "Do I do a sucking to you?» you turn around in your seat. But it is brave, it is honest and direct as it it is the intention of whom it is offered to such a need (imagine the face of the recipient of the offer). It does not have a big mulberry tree load, in the end the ending is the one that is and perhaps in the Kaja couple the moral is evident slightly more. On having gone out of the movies, it is inevitable to think about your own life, about your personal situation and to question if something trumps you, if you lack something and if you are entirely happy in your relation. Clear that I do not discover anything, this is one of the incentives that has the movies (or a good book, it is said all). In spite of that, always happy it does not have the intention of depressing anybody as in other northerly tapes where the human relations were more presided by the human tragedy. Its comical winks to contribute an agreeable freshness.

Interesting the small musical numbers, with a góspel quartet, inspired in the years 40/50 that they precede to the phases of the cinematic history (substituting the outstanding figure melted to black). The topics, in its letters, take certain ironic load that complements itself very well with the tone of the tape.

Always happy it is endorsed by the Award of the Jury to the best movie (category World Cinema) in the Festival of Sundance of 2011 and this is very much a guarantee. Perhaps if it was not that's why it would have happened unnoticed on not having been able to enter the commercial circuits for its distribution. It is of being grateful that the producer Golem bets in road surface for this type of movies as this way it is demonstrated by its catalog of movies (it is not the first one on that from here we comment and it has always been a wise move). And this has turned out to be endorsed by the Award Giraldillo of Gold to the best movie in the past European Film festival of Seville.

Finally, always happy is a movie with self-confidence, which puts on the carpet the relations of couples and the subordination that we have towards our own feelings. A reflective proposal that brings together very much reduced drama of subtle form with an ironic humor.

I leave the tráiler to you:

 

Square Luisjo

Magazine Atticus

 

 

 

Bookmark

Filed file: Movies

Did he like this article? Subscribe to my RSS feed and to obtain more discharges!

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