Todd Solondz's masterpiece, Happiness, got a bad reputation for its edgy subject matter 25 years ago. But it's more than edgelord cinema.
a dark comedy thoroughly undersells both words in that label. It reaches into the deepest and most repressed parts of the sordid American suburban underbelly while also being one of the funniest movies ever made. Upon its release, it became a subject of major controversy almost immediately during its festival run, where it was outright refused by Sundance.
Even as the 1990s contended with violent, sarcastic excavations of the brutal characteristics of the nation that Americans wanted to pretend weren’t there—Oliver Stone’sseemed to exist in another stratosphere. It didn’t sensationalize or stylize its depiction of its subjects the way those other movies did.instead created a false sense of normalcy in which the darkest impulses of its characters tear apart the façade.
“I fucked her so hard she came out of her ears,” he groans while his psychiatrist, Bill the pedophile, pays absolutely zero attention, daydreaming about a park.
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