Happiness (1998)

REVIEW
The final word in family dysfunctionalism, Happiness is writer-director Solondz's harrowing follow-up to Welcome to the Dollhouse. As uncompromising as that film was, nothing can prepare the viewer for the gruelling, bitter, funny and insightful examination of the deterioration of a familial psyche that's on display in this brilliantly written, to-hell-and-back character piece. Effortlessly balancing the stories of its many characters, Solondz isn't wearing rose-colored glasses, for his depiction of human flaws, emotional scars and a suburban morass is brutally honest. The story follows three sisters, their family and relationships. At first we aren't even aware that most of the characters are related, but little by little Solondz gives just enough information. Each is given equal time, and none are shorted in composition. But a few stand out, including Baker's frightening matter-of-fact pederast, whose talk with his young son is at once horrifying and hypnotic; Manheim's overweight, unrequited neighbor with a devastating secret; and Adams' insecure younger sister whose doormat personality is taken advantage of by family and lovers. Happiness is often difficult to watch, but it is a riveting experience. Even in light of its integrity to character and honesty of the written word, it's not for everyone.