Happy, Happy
(2010)
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Happy, Happy
(2010)
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| Credited cast: | |||
| Agnes Kittelsen | ... |
Kaja
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Henrik Rafaelsen | ... |
Sigve
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| Joachim Rafaelsen | ... |
Eirik
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Maibritt Saerens | ... |
Elisabeth
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Oskar Hernæs Brandsø | ... |
Theodor
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Ram Shihab Ebedy | ... |
Noa
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Heine Totland | ... |
Dirigenten
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| Rest of cast listed alphabetically: | |||
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Hans Martin Austestad | ... |
Mann i dress 1
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Nils Christian Fossdal | ... |
Mann i dress 2
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Mattis Myrland | ... |
Mann i dress 4
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Håkon Rasmussen | ... |
Mann i dress 3
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Family is the most important thing in the world to Kaja. She is an eternal optimist in spite of living with a man who would rather go hunting with the boys, and who refuses to have sex with her because she isn't particularly attractive anymore. Whatever. That's life. But when the perfect couple moves in next door, Kaja struggles to keep her emotions in check. Not only do these successful, beautiful, exciting people sing in a choir; they have also adopted a child - from Ethiopia. These new neighbors open a new world to Kaja, with consequences for everyone involved. And when Christmas comes around, it becomes evident that nothing will ever be like before - even if Kaja tries her very best. Written by Official site
HAPPY,HAPPY (dir. Anne Sewitsky) The film is an off-beat examination of two failing marriages in a very isolated, wintry, and picturesque area of Norway. An urban professional couple have fled the city with their adopted African son, and they are trying to reestablish their marriage after the wife's infidelity. Their new neighbors are another couple with a young boy, and the husband is a repressed homosexual, and his wife is in denial. This leads to an illicit sexual affair, and the the film documents the couples' dramatic realignment. Several times during the film a 'Greek Chorus' of singers interrupt the drama with Country- Western inflected Negro Spirituals, and both genres are singularly American, and this made me wonder about the director's attitude towards Americans. Is the director asking Norwegian audiences to view the universal problem of sexual infidelity through American eyes? The songs seemed to be selected to suggest 'lost love' or 'longing' which reinforce a major theme of the film, and reminded me of Lindsay Anderson's surrealistic film, O LUCKY MAN, in which Alan Price's combo provided random musical commentary. Another strange or unusual aspect in the film is the treatment of 'Race'. The African child is asked to play a slave by the other young boy. This is rather inexplicable, yet it might be an attempt to demonstrate the child's confusion over his father's sexual identity. This is a thought provoking and strikingly original film, and I highly recommend it.