Dysfunctional family dynamics are also presented in full swing in All Happy Families. The engaging dramedy, headlined by Josh Radnor (How I Met Your Mother, Hunters) and directed by Haroula Rose, finds one family in major flux. All of a sudden, and I mean all of a sudden, it seems that all there is left in this world, has left. Perhaps more difficult to swallow is the fact that they, too, have to change, if they want to get through the inevitable, yet powerful, transitions in life with any grace at all.
At the same time, Radnor is joined by Chandra Russell (South Side), Becky Ann Baker, John Ashton, and Rob Huebel. The sutra of the film rests with the Landry family which finds themselves in a mid life crisis of sorts all at the same time. One of the most bleshi has been identified is presenting a dramatic change finally grownups have the right of passage in mid 30s.
In order to address this issue, the director, who was also one of the writers of the film along with Coburn Goss, argues that in every person’s lifetime, one will be given a chance to develop oneself. One of such moments, and one that can be understood – as the “adulting” process comes along, it can even take some fun and liberating turns. If spinning a little too many issues was exhorted in All Happy Families for the good of the film, as in its wayward relatives, Little Miss Sunshine and The Kids Are Alright, this indie charmer learns how to nest in your rind.
The first thing that comes to mind after the film’s name sounds similar to one of the best ballets based on a novel written by Leo Tolstoy – Anna Karenina: All the happy families resemble each other. Such a disease is common but many, if not all, of the Landrys want to get rid of it.
Then there’s Graham (Radnor), a screenwriter/actor who has not quite reached middle age as yet, but has a nagging area in his mind that he remains undiscovered. Brother Will (Huebel) on the other hand is where the drama lies, having gotten some popularity in a bland yet surprisingly hit TV show. Everybody seems to have issues when Will comes unannounced to the family house, but the man claims that he wants to help the children and spend some time with them. Graham is not so certain, but given that Graham has been left in charge, and so wants to fix up the house he and his brother bought as children, it was rather useful having him around.
This then gets vexing as Will’s fame elevates him in Graham’s eyes the one thing that he has never been able to touch. But there is something more concerning – that probably Will also has a dark side that could be a possible scandal in the making, jeopardising his career. Radnor and Huebel fit together really well here but then again it is hard to believe that these two are related with such a huge family, everything within the theatre was pale, but the actors had smoldering heat. Will is all charm and bravado, Graham, always unkempt, seems to be off her game.
The dramedy rings in the balance of joy and sorrow of several creative spinning plates from there. Papa Roy (Ashton) is so emotionally disconnected that he is also at risk of gambling again. In this, Graham’s former classroom turns out to be a busy restaurant and Dana (Russel) is a promising chef. Dana is going to be a new tenant of the family’s apartment, it is just a matter of time before Graham gives into something she knows they will pursue. Dana understands the most of Graham’s weaknesses, still, she knows that some of them might be ok for her father.
It’s simply shot looking and feeling very indie. There is not much cerebral dissection of the surroundings and lifestyle but the film has a voyeuristic quality interior where for most of the time we are looking into these people’s lives when all of them are on the edge of making big decisions. It takes time and effort in ordering the film as well as joining the dots in the storyline, however, it is more of a case of continuous engrossment rather than turning the viewer off. Luckily, the movie has one more unique feature which goes beyond the boundaries one would imagine at this point.
That would be the great Becky Ann Baker. Talking about the supporting roles the actress has appeared in, amongst others she is known for playing Hannah’s (Leah Dunham) mother Loreen in HBO’s hit Girls, and featuring Radnor himself in Hunters. As the mother Sue-she is one of the greatest bassets in All Happy Families, it is the evolution of the character that receives the most praise for its relevance, ‘learning to fight back’. That is a shock, especially because Baker is the attending co-star of the contrary and Sue’s story doesn’t get so much of the focus that it’s treated like Graham’s.
There is genuine artistry in watching Baker’s character attempt to navigate the political and practical implications of a groping incident by waiting for the correct moment to make a response. There are other critical areas in which Baker faces up to herself as well as her family. “How is this my family?” she uplifts adamantly, gazing at all the pathetic frightened people around. But then, for example her, that very question opens the door for development and growth.
The character of All Happy Families which stands as the true winning component of it is hope. Hope is present even in the midst of chaos, an opportunity most often just a step into the mental muck. Whether all the characters featured here take that opportunity is an entirely different matter. But it is delightful to see it unfold. Infusing indie-film adorable aspects, being absolutely relatable and showcasing picturesque scenes of Chicago, All Happy Families fulfills a familiar itch for ‘feel-good’ (you know, ultimately) family dramedies.
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