Dysfunctionality is an over-rated dramatic tool. And Solondz seems to rely on it exclusively. Too much of his material is deliberately, solely, and obsessively mean.
Be that as it may, Happiness scores high with me because two, out of six, of its main characters transcend the ooey-gooier-than-thou schtick and emerge as really powerful, and simultaneously amusing, studies. I've never seen a more scientifically balanced scene than the one in which a father is quizzed by his wounded son about his perversions; it manages to be scary and sad and laugh-out-loud funny all at once.
Be that as it may, Happiness scores high with me because two, out of six, of its main characters transcend the ooey-gooier-than-thou schtick and emerge as really powerful, and simultaneously amusing, studies. I've never seen a more scientifically balanced scene than the one in which a father is quizzed by his wounded son about his perversions; it manages to be scary and sad and laugh-out-loud funny all at once.