Happy End 2017 123movies

Watch: Happy End 2017 123movies, Full Movie Online – Gradually succumbing to dementia, George Laurent, the octogenarian patriarch of the Laurents, an affluent upper-bourgeois family, is uncomfortably sharing his palatial manor in Calais, the heart of the infamous migrant jungle, with his twice-married son, Thomas, and Anne, his workaholic daughter who has taken over the family construction business. Divorced and frigid, Anne has to handle the impact of a disastrous workplace accident caused by her disappointing son Pierre’s negligence, while at the same time, the urgent hospitalisation of Thomas’ ex-wife from a mysterious poisoning, leads his sulky 13-year-old daughter, Ève, to live with her father and his new wife, Anais. Undoubtedly, in this family, everyone has a skeleton in the closet, and as the fates of the Laurents enmesh with insistent and ignoble desires, a peculiar and disturbing alliance will form. But in the end, some secrets are bigger than others..
Plot: A well-to-do French family living in Calais deal with a series of setbacks and crises while paying little attention to the grim conditions in the refugee camps within a few miles of their home.
Smart Tags: #self_hatred #hairdresser #depression #boredom #emptiness #jihadism #calais_france #hamster #construction_site #infidelity #attempted_suicide #suicide_attempt #85th_birthday #dog_bite #no_music #minimalism #antidepressants #ennui #poisoning #euthanasia #open_ending

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Ratings:

	6.6/10 Votes: 15,823
	70% | RottenTomatoes
	72/100 | MetaCritic
	N/A Votes: 324 Popularity: 11.635 | TMDB

Reviews:

Haneke is always good, but this may be his worst
I viewed Haneke’s entire filmography back when it was all available to stream on Netflix, and I believe he’s the most important filmmaker alive today. Even his movies that are my least favorite (71 Fragments, Time of the Wolf) have scenes that are mesmerizing, moments of resonance that linger with you long after the credits have rolled. Because I can’t say the same for Happy End, I worry that this film might be his most unremarkable.

Certainly, like all of Haneke’s films, Happy End is beautifully shot, realistically acted, and has enough suspense, tension, and thought-provoking insight to keep the mind active. A scene late in the film between the patriarch (Jean-Louis Trintignant, doing a variation of his role in Amour) and his granddaughter (Fantine Harduin) is a standout; for a moment, it seems as though a heartfelt interrogation between a man at the end of his life and a woman at the beginning of hers might reveal some secret about the ultimate meaning of living, though of course it turns out that neither of them has any idea what it all means. This scene intrigued me, but it still left me disappointed.

Likewise with the climax, which, I think, attempts to pull off something similar to what he accomplished with Funny Games. Funny Games was ultimately a critique of the spectacle of violent entertainment, frequently asking the viewer to pause and ask, “Why the hell did I pay to see this? What enjoyment or edification was I expecting from seeing a family get tortured?” It seems to me that Happy End hints at something comparable at the dinner party towards the end, when the camera moves away from the suffering of these miserable, self-hating, filthy rich, and terribly boring people in order to briefly highlight the lives of refugees who are trying to escape to the economic opportunities of the UK. Here Haneke seems to ask, Why’d you pay to see the haute bourgeoisie simmer over their self-inflicted “problems” when there are real things at stake in the world? All the same, this jab is perhaps too subtle and ultimately stings of the “contempt for the viewer” that so many detractors have always accused Haneke of having but which I’ve never actually been able to detect. If that’s the case, why make this expensive-looking movie at all? Why not make a different film–either one that more consciously highlights the refugee crisis, or one that more scathingly indicts the chamber drama genre?

Haneke trains his incisive gaze on many interesting issues throughout Happy End–psychopathy, greed, social media, suicide, depression, euthanasia, immigration, class conflict, corporate liability–but what he ultimately stirs up is a lot more tired, a lot less insightful, and far more “meh” than anything he’s ever produced before.

Young orphan feels remote from her troubled family.
Hands down, Happy End wins the Most Ironic Title of the year award. (Runner-up: “President Trump.”) From Amour Haneke continues Trintignant’s role as the octogenarian who lovingly cared for his ailing wife and helped her out – with Huppert as their callous businesswoman daughter. But it’s from Cache that Haneke mainly draws, extending his anatomy of the privileged white business class cut off from emotional engagement, experiencing the world and relating primarily through media, and their insensitivity to the burgeoning immigrant underclass. The Callais setting is key. It’s the bridge between France and England, both in starting the Chunnel and remarking England’s last foothold in France. It’s also the entry point for African immigrants hoping to continue on to England. Or to the French bourgeoisie? The dysfunctional Laurents represent the privileged society which the desperate immigrants aspire to join. The family’s concerns pale beside what we see of the their Moroccan servants (“our slave” Pierre publically calls cook Jamila), the street lads Georges assumes he can hire to kill him, the older immigrants Pierre exploits to embarrass his mother at her posh engagement dinner, the construction worker killed in an accident, his whose family the Laurents further affront. In addition to the immigrants, the family is viewed from the perspective of Eve, Thomas’s 12-year-old daughter who comes to live with the Laurents after her mother’s mysterious poisoning and death. For this Eve there is no Eden, only a family of anger and mutual abuse. The film’s central theme is the family’s detachment from each other. The film opens and closes with Eve’s cellphone films. This characterizes her as distanced, relating to her family indirectly, through media. The pre-title sequence records her mother’s nightly ablution rite before she turns the lights off, an augur of her suicide. Then a young boy cavorts in silly cheek, showing Eve as cool and detached from her friends as she is from her mother. The last shot is of her Aunt Anne and father Thomas rushing to save George from contentedly drowning in the sea. The thin column of cellphone film is a mediated experience. So, too, are the computer screen messages between Thomas and his mistress Claire. Several key scenes are kept in long shot, Pierre’s provoking of the accident victim’s son. That device keeps us in the characters’ detachment from the experience. Bent upon suicide, the grandfather wheels down the city street in the road, between the roaring traffic and the parked cars. In one scene the foreground is dominated by a violently barking dog. In the background we barely see the key content of the scene: Georges brought home from the hospital, in his new wheelchair. The composition leaves us uncertain. Is the dog attacking the “stranger” or straining to greet his master? And whose dog is it? We never see a family member with the dog, and Annes ordering servant Rachid to control the dog could suggest the dog is their pet, not hers. But then he bites their little daughter at play. The dog may well be the Laurents’ pet, as neglected and antagonistic as the family members themselves. We’re not told which. Just as the narrative omits significant details, like the cause of Eve’s mother’s death, the details of the Laurents’ financial predicament, how the new father Thomas fell into another affair, etc. Perhaps the film’s most touching scene is the grandfather’s with Eve. To coax her into explaining her suicide attempt he confesses that he put his beloved wife out of her suffering. But, as her cellphone filing suggests, the girl is too dissociated from her own emotions and too remote from others to be as open and intimate as he is. Whether in lethargy, resignation or obedience, she wheels him toward the water and eaves him there. Even his possible death does not shake her detachment. Earlier Georges told her how disturbing he found the spectacle of a predatory bird tearing apart a smaller one, both then wiped away by a car. His point is how reality is even more jolting than its mediated images are. But when she watches his suicide she again resists the direct emotional encounter – and films it. The forgetful old man eager to die is the film’s emotional and moral center. His family is relentlessly abrasvive. His son Thomas left his first wife and seems poised to leave his second for Claire, his unseen email mistress. He struggles to be a father for Eve. Grandson Pierre is an incompetent misfit who blames his mother for his own failure. Nor is there much passion and fulfilment in Anne’s life. Her fiancé is the unappealing English lawyer who has been negotiating a large loan to rescue her company. This seems the traditional expedience rather than passion. Confirming this rotting and wasteful society, the dialogue abounds with references to urinating. Eve records her mother’s pissing and flush. The email love letters relish the memory of golden showers, the mutual debasement may confirm Eve’s sense that her father doesn’t love this Claire, didn’t love either wife and probably cannot love her either. Perhaps the film’s central metaphor is the accident on their construction site. A worker is killed when he goes into a stored portable toilet to urinate and the ground crumbles under him. When a construction site provides such a bathetic destruction the company, the family, the society, seem of very unstable grounding,. Perhaps “Happy End” isn’t so ironic after all. If Georges does manage to drown before his son and daughter save him, in this family he could ask for nothing better. In any case, Eve remains the continuing victim of a broken adult world she can neither understand nor enter with confidence or commitment.

Other Information:

Original Language fr
Runtime 1 hr 47 min (107 min)
Budget 13600000
Revenue 0
Status Released
Rated R
Genre Drama
Director Michael Haneke
Writer Michael Haneke
Actors Isabelle Huppert, Jean-Louis Trintignant, Mathieu Kassovitz
Country France, Austria, Germany
Awards 2 wins & 8 nominations
Production Company N/A
Website N/A

Technical Information:

Sound Mix N/A
Aspect Ratio 1.85 : 1
Camera Arri Alexa
Laboratory N/A
Film Length N/A
Negative Format N/A
Cinematographic Process ARRIRAW (3.4K) (source format), Digital Intermediate (4K) (master format)
Printed Film Format DCP