Happy Go Lucky Film Netflix

[Anita Damelio]

Asolidly caring, good person interacts with assorted eccentric, troubled characters (including one angry bigot). She exhibits responsible, sensitive behavior and a natural ability to do the right thing.

Playful banter and tossing of "falsies"; a young woman is shown in bra and panties during scene in physical therapy office; kissing and partial undressing during flirtatious sexual foreplay; some degree of uncertainty regarding the nature of the feelings between the two women in the story's central friendship.

There's one extended sequence during which a key character has a violent outburst of venomous cursing, including all forms of "f--k" and "bulls--t." Other scattered swearing and profanity includes "pissed off," "buggered off," "t-ts," "nipples," "pubic triangle," "crap," "bitch," and "bastards."

Social drinking in many scenes. The film's opening sequence follows a group of female friends partying in clubs, then finds all of them very drunk and silly in an apartment. One character smokes and vows to quit.

Parents need to know that, despite its "R" rating, there's very little offensive or upsetting material in this British comedy. With the exception of one profanity-filled, angry outburst near the end of the movie, the salty language is mostly a means of colorful, humorous expression. The young professional female characters do drink socially -- and get very drunk once -- but they don't engage in irresponsible behavior. Sexuality is limited to some playful teasing among the young women and one scene between adults who kiss, begin to undress, and sink onto a bed. A chance encounter between the heroine and a mentally ill homeless man is scary for a few moments but resolves without violence. She also has to deal with the explosive jealousy of an unstable admirer. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails.

Poppy (Sally Hawkins) is a primary school teacher in North London. She's funny, almost blindly optimistic, and, of course, "happy go lucky." She has a busy life, surrounded by adoring (though slightly disbelieving) family and friends. When her bike is stolen, Poppy takes driving lessons. She also enrolls in a Flamenco dance class, notices that one of the young boys in her class has had some disturbing changes in behavior, encounters a mentally ill homeless man, and meets an appealing social worker. That's it. Those vignettes provide the structure that tells Poppy's story in HAPPY-GO-LUCKY.

This is a movie with serious undercurrents and a dazzling performance by Hawkins. Director Mike Leigh -- who's well-known for constructing his movies from an idea, a sharp eye for extraordinary actors, and six months of improvisation and "rehearsal" -- has moved away from the serious subjects of his recent past (Vera Drake) to make what appears at first glance to be a frothy comedy. But there's much more to Happy-Go-Lucky.

Just beneath the surface of what seems to be Poppy's unwavering good spirit lies a wise, sensitive, and courageous young woman. She works hard, parties hard, yearns for a fulfilling relationship, and encounters evidence of the anger and pathology of strangers that could be around any corner. She's one of those people who's not afraid to look -- or to help. Nothing less than the profound question of how happiness is possible in today's world is at the heart of this film. Poppy's answer? It's a choice.

Families can talk about what the movie means by "happy go lucky." Do you have to be nave and unaware of the world's problems in order to be "happy"? How did the movie show that always trying to see life's bright side didn't mean that Poppy wasn't responsible and intelligent as well? What kind of choices did she make when facing angry or unhappy people? Were they good choices? Why or why not? Can you understand why some people were annoyed by Poppy's sunny personality?

I love this movie so much and love your article but this is the first time with one of these episodes where the scene involved is not remotely a favourite. I totally hear what you're saying but this might be my least favourite scene in the movie. I think Eddie Marsan was just too much too big acting for me.

So many great moments in this film... The one with the homeless man stands out for me, but also a lot of the stuff at Poppy's school. I love the dance teacher, who feels like she could be the focus of another complete film on its own.

On first watch, I remember wondering why this particular scene was chosen for the climax. Your write-up made me understand that choice better and see the performances and structure in a new light. Great write-up!

I love that scene as I felt it validated Sally Hawkins as a force to be reckoned with as I was wowed by her positivity but that scene shows that she is aware of how cruel the world is but knows there is a sense of hope in there but that moment is also this face of reality that she has to face. She was robbed of an Oscar nod.

It's weird but i can't remember a favorite scene from this movie. I just love how Sally Hawkins develope her character, looking happy in a forced way but avoiding that the performance looks like a cartoon.

@Peggy Sue

Is a good scene but not a favorite to me. But is because i love some movies just for a performance than the movie by itself. Like Perfume (Ben Whishaw) Gloria (Paulina Garca) The Green Mile (Doug Hutchison) or even Me, Myself and Irene (Jim Carrey) and Smiley Face (Anna Faris)

@Nathaniel, right on the money. I wouldnt say this is my least favourite scene, but the level of hamming weakened it. Pretty sure Marsan actually spat in my face. I love this film and this is a great analysis tho.

Hawkins swept most o the critics award that year, including NYFCC, LAFCC, etc...but she is still a relatively unknown then and only Golden Globes took a chance on her, & not only nom her, but awarded her a deserving win over their perennial fav, La Meryl!!!

Happy-Go-Lucky is a 2008 British comedy-drama film written and directed by Mike Leigh. The screenplay focuses on a cheerful and optimistic primary school teacher and her relationships with those around her. The film was well received by critics and resulted in a number of awards for Mike Leigh's direction and screenplay, lead actress Sally Hawkins's performance, and Eddie Marsan's performance in a supporting role.

Thirty years old and single, Pauline "Poppy" Cross shares a London flat with her best friend Zoe, a fellow teacher. Poppy is free-minded, high-spirited and kind-hearted. The film opens with Poppy trying to engage a shop employee in conversation. He ignores her, yet his icy demeanour does not bother her. She maintains her good mood even when she discovers her bicycle has been stolen. Her main concern is not getting a new one or finding the bicycle, but that she did not get a chance to say goodbye to it. This prompts her to decide to learn how to drive.

When Poppy takes driving lessons for the first time, her positive attitude contrasts starkly with her gloomy, intolerant and cynical driving instructor, Scott. He is emotionally repressed, has anger problems and becomes extremely agitated by Poppy's casual attitude towards driving. As Poppy gets to know him, it becomes evident that Scott believes in conspiracy theories. His beliefs are partly attributable to his racist and misogynistic views, which make it hard for him to get along with others. Scott seems to be angered by Poppy's sunny personality and what he perceives as a lack of responsibility and concern for driving safety. Scott is exceptionally irritated by Poppy's choice of footwear (a pair of high-heeled boots), which he feels compromises her ability to drive. From the outset, he feels Poppy does not take her lessons seriously and is careless.

Poppy, however, does have the capacity to be responsible. At school, Poppy observes one of her pupils bullying one of his classmates. Rather than becoming angry, she worries about him and takes the appropriate action. After speaking with her pupil, she comes to the correct conclusion that he is being abused at home. A social worker, Tim, is brought in to handle the boy's case. Through Tim and the pupil's interactions, the latter reveals that his mother's boyfriend has been beating him. Tim and Poppy begin dating.

Poppy, Zoe, and Poppy's younger sister, Suzy, go to visit another sister, Helen, who lives with her husband in Southend-on-Sea and is pregnant. Helen proves to be a very judgmental person and tells Poppy she needs to "take life seriously", "not get drunk every night" and plan for the future. Poppy responds that she is happy with her life as it is. Helen tries to convince Poppy to be more responsible, condescendingly telling her she is too childish, but Poppy insists that she is happy and ignores her advice.

Returning home, Poppy sees Scott standing across the street from her flat, and when she calls his name, he runs away. When she confronts him he insists he had been visiting his mother in Stevenage at the time she saw him. Scott later sees Poppy with her new boyfriend, Tim, and he becomes angry. During Poppy's subsequent driving lesson, Scott drives erratically while ranting about other drivers and society. When he gives Poppy the keys to his car, she tells him he is in no condition to give a driving lesson, and she will drive him home. Scott tries to get his keys back and physically attacks Poppy. She manages to escape his grasp, then in a long, rambling diatribe Scott accuses Poppy of trying to seduce him, revealing his romantic feelings for her. Using patience and understanding to teach him a lesson, Poppy waits until he has calmed down, then gives the keys back, telling him this lesson will be their last.

The film ends with Poppy and Zoe together maneuvering a rowboat in Regent's Park as Zoe advises Poppy she "can't make everyone happy." Poppy cheerfully dismisses the advice, then takes a mobile call from Tim and asks him, "Missing me already?".

The film is Mike Leigh's first film shot in the 2.35 aspect ratio anamorphic format.[2] It was made and distributed with the assistance of National Lottery funding through the UK Film Council, with 1.2 million awarded to the production company, and a further 210,000 awarded to the film's UK distributor.[3]

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