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Happy-Go-Lucky (2008)

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23 out of 27 people found the following comment useful :-
A shining occasion for modern cinema, "Happy-Go-Lucky" welcomely explores a range of emotions and themes., 15 August 2008

Author: TheEighthDeadlySin from Suffolk, England

On first impression, Mike Leigh's new film feels like a light-hearted, simple-minded and a briefly delightful flick. But when it comes to Leigh; you should enter with the assumption that you will leave drained from all other thoughts. Happy-Go-Lucky is no different. However, it has certainly got a balanced amount of comedic and dramatic elements, each outweighing each other once present on screen. The naturalistic and fast paced dialogue intertwined with slang and theory, with wit and sarcasm is contained for an intense, joyful and powerful viewing. Harsh and realistic danger is presented for emotional enhancement rather than the exaggerated situations in the conventional Hollywood film. We are set with a protagonist and remain with her to the end plus the pleasant charm of the British culture entwined.

Sally Hawkins shines as the lead, Poppy, in one of the best performances of the year, a seemingly naive extrovert with a very expressive and optimistic attitude towards life and all her hardships. She laughs at unfortunate events that she "suffers", such as getting her bicycle - her form of personal transport, of which she enjoys to wave at people whilst riding - stolen, as if it were a cruel irony and she gets the joke. This upbeat spirit is rarely broken, even if the polar opposite of attitudes comes into contact with her unless taken to the absolute limit. She is an inviting figure, one that which desires to inspire her mood and thoughts on life. In doing so, she becomes a primary teacher, when the mind is at it's spongiest. There is a scene where she experiments creativity with her long term roommate Zoe (Alexis Zegerman) in the form of cardboard boxes and more materials to make a bird-like costume. Poppy is the definitive authority figure in the film. To match her personality is the excessive clothes with often delicate unnecessary items just to provide bright colours in the darkest of hues in the scenes. This brightness transcends her performance and makes her my absolute favourite leading performance of the year.

The most expressive supporting performance comes from Eddie Marsan, as Scott, Poppy's driving instructor. However, his character is the opposite to Poppy's, always agitated and enraged when flaws occur. His character does not mix with her at all. The driving scenes are the utmost emotionally engaging scenes in the entire film and form the structure of routine giving a basis and understanding of the time frame therefore the development the characters go about in their relationships with each other - especially since they meet during his last shift so he wants to escape the working mode and enter the more relaxing mode of no responsibility. Scott constantly misinterprets Poppy's actions, as if she's sexually teasing him for her pleasure or patronizing his behaviour. During their rather short journeys of stopping, starting, arguing, repeating explanations - the tension really builds up. Every time Scott's rage is starting to show Poppy strikes him down with a joke to calm him; or maybe herself. Happy-Go-Lucky had the power to make a grin evolve across my face then wipe it straight off again within the same shot. Her comfort is very limited and only appears again with the most prominent support of Zoe (a wonderfully sarcastic performance which is an absolute joy to see every time) - even more so than her family that do appear not necessarily in an agreeable situation. There is also a rather striking and bleak scene in which Poppy encounters a tramp (played by Stanley Townsend) where he confronts her in a strange gibberish without a seeming understanding of his correct surroundings. This hobo is a symbolism of freedom, of complete and utter creativity with his language and imagination. When Poppy is presented with this person she is in a state of confusion as what to do.

This is the whole point of the film. Authority (Poppy), with it's intimidating and overbearing behaviour, overtakes that of the weaker society (the children), so fills their views when they'll most likely take it in without hassle and live by these thoughts. Despite allowing the children to express themselves through the medium of products she is still controlling them and not allowing complete freedom; yes, on the outside they may all be different, but technically they are all bird-costumes - therefore she is not able to properly inspire the creativity she wishes to do so. However, once presented with a form of society that has matured and developed their own opinions and morals it is more difficult to get through to them - hence the firmer attitude Poppy has to resort to in order to get Scott (this figure of society) to conform. The flaws become more prominent once authority is unable to abide by their own rules to make society work; which is shown during the dance classes as she is clearly out of time with everyone and making up her own moves. Or a simpler interpretation and a completely valid one, is that Poppy is a child at heart, therefore her desire to work with children and therefore her dependence on the older flatmate and the fact she prefers to use a nickname as apposed to her real name (Pauline). Or possibly willfully ignorant.

Other than Sally Hawkins incredible performance, Happy-Go-Lucky's strength comes from the balanced script, cinematography and editing, with the ability to achieve a range of tones therefore reactions from the viewer. Natural and sharp dialogue makes for always compelling and entertaining viewing. The colour is pure eye candy, with bright bold shapes and no hues between the colours giving the film personality within itself - without the help of Sally Hawkins. The score adds to the delight with a bubbly mix of string and jazz, reflecting the main characters. Although I completely understand how someone can find these irritable, I, however, find them an absolute joy; never wanting the intense, rewarding, enriching and enlightening experience to end.

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22 out of 32 people found the following comment useful :-
Another Excellent Mike Leigh Vignette, 14 April 2008

Author: FiveHundredFlicks from United Kingdom

In this latest movie from Mike Leigh we are introduced to the very sweet Poppy. Poppy is a teacher, a good laugh, a bit of a loon and a really annoying person all rolled into one but try as you might you won't hold that against her. She is an unexpectedly cute cross between Michaela Strachan and Frank Spencer. Thankfully, there's no beret but there are plenty of knockabout gags which, when coupled with Poppy's infectious giggling and quick asides, had the audience laughing along quite genuinely. Characters come and go throughout the movie with an especially good performance from Stanley Townsend, but it's Eddie Marsan who gives the stand out performance in the movie with his darkly obsessive narratives and non sequiturs which expose his sinister persona. The rest of the cast are also splendid, they all fit in just right to make this a very watchable and enjoyable movie. Even the two dimensional characters have good aspects for which they are easily forgiven. I wouldn't hesitate in recommending people to this movie, my only complaint being that it was over too soon. I could have watched how the characters developed for another day or two and I guess that's down to the fascination with the ordinary which Mike Leigh builds into his films.

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13 out of 15 people found the following comment useful :-
A cheerful film with an underlying vein of tragedy, 1 May 2008

Author: (lexo1770) from Ireland

Happy-Go-Lucky has been reviewed in the British press as a relatively lightweight Mike Leigh movie, but I'm not so sure. The story revolves around Sally Hawkins' remarkable performance as primary school teacher Poppy Cross, a highly unusual character in that Hawkins and Leigh between them manage to make her consistently cheerful and optimistic without being either naive or irritating. Poppy is presented as both relentlessly cheery and, on another level, remarkably intuitive; throughout the film, she has a series of encounters with troubled male figures (a boy in her class who has started bullying, a very strange homeless Irishman and, above all, her phenomenally uptight driving instructor Scott) and in all of them, Poppy's liveliness and friendly curiosity about other people is seen to be a powerful counter to male self-pity, anger and despair.

Hawkins' character is not someone who is inclined to let life get her down, so it's just as well that she is surrounded by people with a somewhat more sardonic or downbeat take on reality. Her flatmate Zoe (Alexis Zegerman, very good) is a wonderfully dry and sarky counter to Poppy's enthusiasm, although the affection between them is palpable. Poppy's younger sisters Suzy and Helen are also quite different; Suzy is a law student who is more interested in clubbing, drinking and playing with her brother-in-law's Playstation than in criminal justice, while Helen is heavily pregnant, obsessed with acquiring the trappings of a respectable suburban life and unable to understand how her older sister can be so happy living in a rented flat and not stepping onto the property ladder.

The big surprise for me is that I had been led to believe that this is a more or less straightforward feelgood film. It isn't. Scott, Poppy's driving teacher (Eddie Marsan), is the most affecting character in it, and one of the greatest and most unforgettable characters in Leigh's oeuvre. Most of the reviews I've read of the film depict Scott as a hateful, sinister or otherwise despicable character, but although it's true that he is an uptight, judgmental, angry bigot, it is also perfectly clear from his first appearance that he doesn't know what he's talking about and that he is driven by emotional problems that he hasn't even begun to get a handle on. Marsan's extraordinary performance is one of the best things I've seen on film for a long time. Scott has been afflicted with very bad teeth and a mild speech defect (he can't really say the letter 'r') and although his inner anger and bigotry is played for laughs for a lot of the film, in the end it is allowed to blossom forth in a riveting scene where his fury, jealousy and terror of his own darkness spill forth in a heartbreaking and riveting torrent. If part of the point of art is to help us to understand people we would otherwise have little sympathy with, then this film is a work of art. I've never seen Marsan before but he deserves awards for this movie, no question.

Happy-Go-Lucky is a highly enjoyable and often very funny film, but it also carries terrible sadness. I have never been a massive fan of Mike Leigh, but lately I have to admit that I was wrong. He just seems to get better and better.

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17 out of 23 people found the following comment useful :-
A Lovely Look At How To Be Happy, 24 April 2008

Author: prylands from London

All of the Mike Leigh traits are present in this lovely little film: the dysfunctional family, the contrasting approaches to life and a bittersweet questioning of what it is to be happy, what it is to be human.

The film is at times both lovely and disturbing. It is life affirming but carries a caveat that unhappiness does exist in sullen faces, in madness, in neuroses. However, the central characters triumph in an engaging if quirky film that may well see you leaving the cinema with a lighter step and a lighter heart.

It is not a film that will win top awards but it is one that will remain in the memory a good while as it is thought provoking and ultimately wonderful.

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12 out of 16 people found the following comment useful :-
A sprightly and optimistic little film, 13 May 2008

Author: johnny_ultimate from Ireland

If ever a film was wonderfully summarised in a title, it is Happy-Go-Lucky. Those five syllables perfect describe the light and breezy tone of this film, and quite possibly how you will feel as you leave the cinema. This is a movie that admirably celebrates optimism, which I for one found a nice relief in an age where even Hollywood blockbusters strive to be dark and cynical.

At first, I didn't really think I was going to enjoy Happy-Go-Lucky. The opening few minutes have a couple of attempts at humour that fall rather flat: not really a positive sign in a comedy-drama. And then there is a sequence illustrating a stereotypical, painful night out: the drunken ramblings of a coven of irritating witches prove to be an instant turn-off that creates little sympathy towards Poppy, our chirpy protagonist.

But luckily Happy-Go-Lucky is a slow burner: it just takes a little while to adjust to Poppy's world. It is Poppy (or Pauline) herself that will likely begin to conjure up some goodwill. Her cheery, often illogical optimism is a difficult trait to pull off, but Sally Hawkins gives a truly exceptional performance. Poppy is an oddity in London: a woman who has decided to be endlessly upbeat in a city of dreariness and unfriendliness. Her primary coloured clothes are in sharp contrast to the grey, apathetic streets and people around her, while her constant attempts at light humour and banter are often dismissed by those she tries to cheer up. Admittedly, she does often come across as annoying and excessive, but this simply strengthens her character: she is a solid mix of likable quirks and annoying habits. Her good-will even in the most difficult of situations (one sequence where she attempts to talk to a homeless drunkard sticks out) becomes endearing, and you may well find yourself cheering her on sooner than expected. She is a multi-layered character: her motivations admirable, her outlook likable. Most importantly she is a very strong, independent person who is entirely happy with her life, and the character is more than capable of holding the film together. Hawkins' portrayal works brilliantly, and her performance is one of the most charming and memorable in quite some time.

Poppy holds the story together, and it is a great relief that her character is so compelling, as the narrative relies on her completely. Indeed, the 'story' is almost non-existent, and is simply a few chapters in the day to day life of our protagonist. The film simply comprises of a number of vignettes in Poppy's life. It documents her day-to-day encounters: dealing with a troubled boy in the class she teaches, her bizarre dancing lessons, her sojourns with an intense driving instructor. More than anything, these mini-tales try and portray the way in which Poppy tries to retain her optimism in the face of an often bleak reality. Perhaps the central story is the one focusing on her driving lessons with a racist, emotionally fragile instructor. These Saturday excursions are the best examples of the film's thematic concerns: the difficulty of remaining optimistic in a pessimistic world. While Poppy's refusal to drop her friendly mannerisms often put her at risk, ultimately her cheery attitude keeps her safe and wins over the many other characters she encounters. Director Mike Leigh seemingly urges the audience to try and be friendly in an increasingly unfriendly world through his sympathetic portrayal of Polly, which seems to me to be an entirely refreshing moral! There are dark hints throughout the film: there are subtle references to child abuse, alcoholism, obsession and other bleak issues. But these are an integral part of the film that reinforce the general happy mood. The cinematography reinforces this – often quite subtle, it makes terrific use of colour to give Poppy a central presence. Her multi-coloured clothing and her flatmate's yellow car make her stand out instantly. It is also quite a funny little movie when it wants to be: the humour is quirky and offbeat, but Leigh will likely succeed in making you laugh through his bizarre characters and situations. Driving instructor Scott's repeated refrain of Enraha is a great running joke, while the sometimes ridiculous mannerisms of Poppy are often good for a chuckle.

There are one or two issues that should be raised. Some of the sequences seem a little redundant: in particular a final-act romance that seems somewhat surplus to requirements (although it is thankfully brief). The ancillary characters sometimes seem to lack depth: Poppy's younger sister in particular. And the previously mentioned weak start is an obstacle that has to be overcome to reveal the real depth and subtlety the film has to offer.

Happy-Go-Lucky is a sprightly little film that is a truly uplifting experience. True a fantastically realised lead character, it has a lot to say about the increasing depersonalisation of contemporary society. The messages are subtle and careful, despite the excessiveness of Poppy. The film is far deeper than appearances may suggest, and while it is a very enjoyable two hours, it also lends itself to more detail examination. Catch this in the right mood and Happy-Go-Lucky's big heart (symbolised by Poppy's necklace) may just win you over.

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16 out of 24 people found the following comment useful :-
Maybe the world is too much for even the most dedicated optimist?, 23 April 2008

Author: seawalker from Birmingham, England

Some UK critics have been saying that "Happy-Go-Lucky" is the happiest and most cheerful movie that Mike Leigh has ever made. Well, I don't know if I would exactly agree with that. It is and it isn't.

Sally Hawkins' primary school teacher Poppy is, indeed, a very happy individual. Annoyingly happy, insanely cheerful, depressingly optimistic and psychotically 'Up!', most of the time. It is a tribute to Sally Hawkins performance that, once you get past the initial irritation with her, you completely fall in love with Poppy, her goodness, her openness and, yes, her simple niceness.

Then there is Eddie Marsan's driving instructor Scott. Scott is the very antithesis of happy. Scott is rigid, angry, frustrated, impatient, knotted up and racist. A borderline OCD sufferer, who is tortured by who-knows-what in his past. Scott is the most bitter and overwhelming character in a Mike Leigh film since David Thewlis' Johnny in "Naked". It is a towering performance by Eddie Marsan.

If Poppy is the light, Scott is definitely the dark, but it seemed to me that dark shadows inhabit the whole of "Happy-Go-Lucky". The unhappy schoolboy, the glum Sister, the other sister - a social climber who dominates her husband. Little vignettes of irritation and annoyance. Typical Mike Leigh.

"Happy-Go-Lucky" is a really good film, if you stick with it. I liked the way that Poppy does stop smiling towards the end. Maybe the world is too much for even the most dedicated optimist?

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8 out of 11 people found the following comment useful :-
Whatever she's on, I'll have a double, please, 10 July 2008

Author: starvin4megravy from Australia

Mike Leigh's done it again ... for fans and detractors alike! Poppy, his latest creation, sails through this slice of life with a smile on her face, fun on her mind and kindness in her heart.

Irritating? I didn't think so. On my good days, I rather hope there's a little of her in me.

Realistic? She's not even meant to be. This character, remember, began her existence as a series of doodles and scribbles on one of Mike Leigh's hard-working notepads, probably many years ago, although more than likely inspired by real-life friends or acquaintances.

For me, she was quite brilliantly brought to life by the excellent Sally Hawkins. Ironically, if she calls to mind any other inhabitant of Planet Leigh then it's probably Jane Horrocks's rather more sour Nic (or was it Nat?) in Life Is Sweet.

And Poppy has much to be happy about. A true friend, with whom she shares a not-too-shabby flat in a Finsbury Park that I shall not stoop to comparing with the N4 district of my own experience. A job she was born to do, among supportive colleagues. An enjoyable social life, memories of travels past, a cool reetro bike (for a while, at least ... ) and a wardrobe straight out of (ahem!) an Australian's nightmare all go to emphasise the message given by the film's title.

Of course, With a little practice, any fool can probably act ridiculously happy for a few hours ... I've done it myself more than once, come to think of it. What Hawkins manages so well (and just enough to plant the seeds in the viewer's mind) is to harness those great betrayers of a person's true feelings - the eyes, facial expressions and body language - to hint very subtly at some inner compulsion, a squeaky, rickety old door that she works hard to keep closed within her. Perhaps not exactly the pain behind the mask, but a hidden discomfort that must forever be pushed away.

Into her life ambles driving instructor Scott, played by the ever-welcome Eddie Marsan. If Poppy can be said to stroll across life's duckpond without even getting the soles of her cowboy boots wet, then Scott is a man slowly drowning. The film's strongest plot line (this *is* Mike Leigh!) charts the evolving relationship between these apparent opposites,and the interplay really lights up the screen.

To say more would dent your enjoyment should you decide to go and see for yourself, and I don't do spoilers anyway! If you go by bike, remember to lock up securely or - better still - maybe your best friend will take you along in her "mad" yellow car.

However you get there, why not let Poppy's attitude infect you for a few hours after you leave? It probably will anyway ...

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12 out of 20 people found the following comment useful :-
It's OK to wear high-heeled boots, 20 April 2008

Author: Chris Docker (eyeforfilm) from Scotland, United Kingdom

*** This comment may contain spoilers ***

What do we mean by British values? Role models foisted on us by the political elite. A family-values BBC. Gordon Brown talking of our respect for justice and fair play seems at odds with his political agenda - seen by some as increasingly encroaching on basic human rights. The Scots and the Welsh have vibrant traditions. Whereas England yearns for identity. So where is the notion of 'Britishness'?

I admit I sometimes feel ashamed of being 'British' when foreign policy taints our image abroad. Yet when I travel in London and the rest of the UK, comparing it to the progress in developed and developing countries around the world, I feel a faint tinge of pride. Racism is still present in the UK. But not as bad as many places.

Happy-Go-Lucky is no carefree meander through the joys of being British. Neither is it a film that will make everyone smile (as director Mike Leigh hopes). Happy-Go-Lucky is a character study. The film can be taken as very light entertainment – Eastenders with a happy face. Or we could suggest it might hold up a mirror - illustrating more constructive personas than any soap opera.

But here was my initial reaction:

Poppy Cross is like Catherine Tate without funny. An irritating stranger that might come up to me in the street and tell me to 'smile'. She witters aimlessly, refuses to engage in serious conversation. She is like the born-again cancer patient determined to extol their remaining days with a live-life-to-the-full proselytising grin. She has the self-righteous radiance of the newly converted. The Prozac-like cheeriness of Little Miss Sunshine's dysfunctional happiness-guru, teaching success even though a complete failure. Any character criticising her is quickly demonised by the script. She indeed has, as flatmate Zoe jokes, a "strong bullshit line" in her palm. This is posh playwright/director Mike Leigh once again trying to show he understands the working class, and this time failing as miserably as Tony Blair eating beefburgers. Pulp singing Common People in the background doesn't convince. There is negligible plot development beyond the trite interactions of Poppy with others. The main dramatic tension is wondering when the final credits will put her out of her bangle-jangling misery.

But the more I absorbed the film, the more I answered my own criticisms. I watched it again. Many more people were laughing than at the preview. Myself included.

For all their ebullience and garish clothing, Poppy (Sally Hawkins) and her friends are archetypes more than regular characters. Her happiness is indefatigable. Her only sadness is that others aren't as happy as she. Every other player is more recognisable (if less inspiring). Her youngest sister (Suzy) is three weeks away from her law exams. Her incisive humour 'tells it like it is' - but such sharp wit is destructive. The middle sister (Helen) is pregnant, successfully married and on the property ladder, yet vulnerable when others don't buy into her vision of happiness.

Poppy's colleagues at the Primary School where she works seem to have colourless lives compared to Poppy. Her headmaster (Heather) has a predictable balance between home and work life, plus a Tuesday evening flamenco class. Tash, a teacher swamped by family demands, sees the glass half-full and struggles to keep up with the light pub banter.

When Poppy's bike is stolen (it must have "flown the nest," she says), she is confronted with more difficult oddballs. A racist driving teacher (Scott) and a scary-looking tramp she talks to on the way home. We might have warmed to seeing how she interacts with children under her care, but more threatening situations show a different maturity.

Many superficially 'happy' people soon crack under any sort of pressure. They expect non-converts to 'accept Jesus'. Poor people to 'get a job'. Their happiness is usually predicated on a particular lifestyle and shared only with similar subscribers. Poppy, on the other hand, welcomes diversity. She cheerfully accepts that she can't 'make everyone happy'.

Is she unbelievable? Not really. For all her lightness, she has seen the world. Her gap year embraced Australia, Vietnam, Bali and Australia, plus a six-month teaching stint in Thailand. She knows she doesn't know everything ("What am I doing?" she asks herself, befriending the violent homeless man). But she has a bravery born of knowledge of human nature and a comfortable friendship with her own compassionate disposition. "Do you know what I mean?" asks the derelict after a stream of meaningless stuttering (made even more incomprehensible by his obvious drunkenness or mental disorder). "Yeah. I do," says Poppy. Sincerely. The expression in her eyes conveys a depth that is beyond the communication of words. It is one of the best moments in the film.

In a world where there is less space to share by an ever-increasing population, the tolerance and human kindness exhibited by Poppy is exemplary. And deserves to make Happy-Go-Lucky one of the most important British films of the year.

Cinematographer Dick Pope provides some glorious visual treats. Poppy on a trampoline or on display for an osteopath. Or an idyllic multiple hedgerow for her self-contemplation.

"It's not easy being an adult," ruminate Poppy and her flatmate Zoe as they look at life from the middle of a lake. But her seemingly childlike attitude is a lot easier than the approach taken by other people in her life. "It's not easy being you, is it?" she says to her almost psychopathic driving instructor as he airs his frustrations. She must take driving 'seriously.' But Poppy is seriously happy. Her tolerance almost makes me proud to be British.

One thing did worry me though. Her driving instructor berates her for wearing heels, which she refuses to replace with 'sensible' driving shoes. I enquired of some female friends if this was indeed dangerous. Apparently it is. You can ruin the back of a good pair of heels driving in them . . .

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7 out of 11 people found the following comment useful :-
Wisdom, not naivety, 12 July 2008

Author: DaSchaust from Germany

Having read some critiques to the extent that this was a film about a naive, childish woman who refused to take life seriously, I was hesitant whether I'd be able to bear this movie.

Luckily, it turned out to be one of the most entertaining cinema experiences since quite a long time.

Poppy isn't the person refusing to become an adult which her misanthropic driving instructor Scott accuses her to be. Our time indeed seems to bring about such people but they could hardly be more different than this lovely young woman. The first scene, with the girls drunk and chatting nonsense, is perhaps a bit misleading on this issue. (In fact, several people left the cinema during this scene, seemingly annoyed of all the giggling.) Rather, Poppy is wise and strong, trying to see the positive in everyone and everything. Humour, and sometimes benign derision, are her ways of keeping sulkiness out of her life. But, as everyone with a heart should feel, that is a gift, not a deficit. What damage can it cause to have a nice word or a smile for your fellow humans? On the other hand, she doesn't shut her eyes on the sad sides of life, such as a traumatized homeless man or a boy beaten by his mother's new partner, and one understands that she is deeply sad about not being able to help Scott, even if she would have had every reason to simply hate him for his bad temper, his racism and his stalking.

The director has done a superb job with this production; it is packed with intelligent, witty dialogs and convincingly drawn characters.

Our world needs a lot more people like Poppy, or at least -- if they don't possess her strength and optimism -- people who are sympathetic with her values instead of feeling threatened by humaneness. Yes, life is difficult and often sad, so let's tackle it with a smile!

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7 out of 12 people found the following comment useful :-
A Jolly Good Watch, 27 April 2008

Author: SaphMB from United Kingdom

Happy-Go-Lucky introduces us to Poppy, who regardless of what happens does not cease smiling. Her bike is stolen, her driving instructor is a lunatic, a child in her class is troubled, but does that smile waver? No.

Mike Leigh’s latest work is noticeably more cheerful than his previous film, Vera Drake, but we must be careful not to mark him as a bringer of misery. Leigh dabbled in the comedy genre with Topsy-Turvy, the short film A Sense of History as well as Life is Sweet. However, it can be argued that Mike Leigh’s command of the comedy genre is most apparent in Happy-Go-Lucky, the script is absolutely wonderful and combined with the greatly impressive performances given, Leigh may have produced his greatest film to date.

Poppy can at first appear to be rather annoying character. She’s more happy than your average person, she wears some of most the colourful, kooky outfits you’ve ever been privy to , she speaks a lot, at times in a rather crazy vernacular but, despite this, you can’t help but love her. Where could we find such a person you ask? In one of London’s primary schools of course. Poppy is clearly a great teacher of a class of content children and the scenes in the classroom are a joy to watch. One of Poppy’s driving forces appears to be a desire to make other people happy, be it her friends, her pupils or her driving instructor. There are some points within the film where we wonder whether Poppy’s desire to help others is a negative trait. To an extent, it blinds her to some of the dangers she faces, this is obvious in a scene where Poppy, alone, speaks to homeless man in what could be described as industrial wasteland. Does this compromise the realism of the film? Does it make us question the extent to which we respect Poppy as a character? Or does it is simply add to the many layers of our protagonist? Mike Leigh, does not give us the two-dimensional character we see in the adverts. Poppy is complex, self-aware, compassionate and wiser than we know.

Sally Hawkins (winner of the Silver Bear at the Berlin film festival) is mesmerising in her role as Poppy. We give immense amount of credit to actors hen they pull of that strong, powerful, emotional scene often characterised by sorrow or anger. What we seem to forget is how hard it can be to smile for long periods of time. Hawkins smiles in nearly every moment she spends on screen and she clearly gives it her all. She’s really smiling. Hawkins certainly bring Mike Leigh’s script to life and she is completely believable as Poppy.

A core element of the film is not just Poppy as a character but Poppy’s interactions between the people she comes across. The relationship between Poppy and her roommate, Zoë (Alexis Zegerman) is adorable. Their voices complement each other and there is an ongoing feeling that their conversations are going no-where, despite this, you can’t help but enjoy listening to them. Eddie Marsan plays the somewhat psychotic driving instructor, Scott. Scott is Poppy’s complete opposite; miserable, rigid, prejudiced and lets just throw male into it. We slowly become aware that Poppy is not the best person to be around Scott. She appears to be against every he stands for and his agitation around her becomes palpable.

Where the film leaves the audience greatly depends on the viewer. Mike Leigh definitely makes a statement, but it’s up to you decide what you think it is. Happy-Go-Lucky is guaranteed to have you in laughs for the most of the film, it is certainly worth watching, never has it been easier to remain entertained for 118 minutes.

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