Understanding Welcomed Into Happiness
by Lulubell
The world of Welcome to Happiness is a strange one, but not necessarily in a bad way. Woody Ward (Kyle Gallner) is our guide into this place. He’s a children’s book writer with a massive writer’s block. But in many ways, his main "career" is to be a spiritual guide of sorts. His apartment is a gateway to another world, one that grants happiness by passing through a magical door in Woody’s closet. It’s his responsibility to vet candidates requesting an entrance.
Who’s allowed through the door? Lost souls — a literal and metaphorical state that imbibes most of the characters — including Woody. Much like the Woody of Toy Story, it’s jealousy that drives the plot.
For some innumerable amount of time Woody has been dutifully guiding strangers through the magical door, ignorant to where or what the door provides, or even if the people who cross ever return. Then one fateful day, he encounters one of them. A young woman who on their first encounter seemed distraught and at the edge of a precipice. Except now she’s obtained peace and happiness. Seemingly, she was able to change an event in her life — a traumatic one.
How about reversing death of a loved one? That’s exactly the question Woody wants answered and an explanation as to why he hasn’t been allowed the same opportunity like the others. After helping countless lost souls go through the magical door, why not him? Jealousy is a powerful thing. It makes a seemingly stable existence turn upside down. Woody loses his agent (played by a very bitchy Paget Brewster) and a new love (Olivia Thirlby as Trudy) fizzles out fast as he becomes consumed with what he sees as inequality.
It’s Woody’s journey from jealousy to anger to lost and then to understanding that makes "Welcome to Happiness" an interesting story. The theme of “losing oneself” is one that is shared by many of the characters and one that is all too universal. I don’t intend to wax poetically here, but loss is a powerful motivator for action and an easy one to relate to. It’s in the moments of loss that the actors shine through, each of them taking on a different facet.
Not all of the film is sad, however. There are great moments of quirky humor (and this is what this film does best). Some of the best moments come from Keegan Michael-Key as Proctor, a highly perky/eccentric puck. His energy colors every single scene he’s in — stealing every scene really. Nick Offerman as Moses, Woody's landlord and minder, brings a seriousness to the story that offers a guide for Woody and the audience. Like his namesake, he too enlightens us. His presence alone makes the whole film seem more grounded.
"Welcome to Happiness" starts off strong, with its whimsical world and splash of fantasy. Add to it its compelling narrative lead and you would have a runaway hit. Unfortunately as the story progresses it seems to digress from its narrative focus, seeming to lose its grip on what it wants to be and meander into a messy jumble, with its multi-colored threads bleeding out at the end.
With all its symbolism — Woody's apartment is arrayed with metaphorical alluding murals — it doesn't quite explain or show what it's trying to be. Is the doorway a form of enlightenment? Is this all real or a result of an LSD trip? Are Proctor and Moses the creators of the doorway? The film doesn't answer these questions, it merely makes the characters move on, with no other reason than it's the best thing to do.
Certain characters aren't even fully explained either. Lillian (Molly Quinn) the a pretty assistant to Proctor, is left as an ambiguous fairy-figure. Her hippy-ish ways could have made for an interesting character, yet she just floats around most of the time. Francis Conroy and Robert Pike Daniel's character names are barely even mentioned. I'd be surprised if anyone coming out of the theater remembered their names. Like Key, their cameos are funny and endearing, yet they are only shown at the end and for only a couple scenes.
That said, Welcome to Happiness does have its merits. Enough of them to make it fun to watch. If only to watch Key — he really is a hoot. Watching it is like eating Starburst — multi colored, fruity and chewy.
Who’s allowed through the door? Lost souls — a literal and metaphorical state that imbibes most of the characters — including Woody. Much like the Woody of Toy Story, it’s jealousy that drives the plot.
For some innumerable amount of time Woody has been dutifully guiding strangers through the magical door, ignorant to where or what the door provides, or even if the people who cross ever return. Then one fateful day, he encounters one of them. A young woman who on their first encounter seemed distraught and at the edge of a precipice. Except now she’s obtained peace and happiness. Seemingly, she was able to change an event in her life — a traumatic one.
How about reversing death of a loved one? That’s exactly the question Woody wants answered and an explanation as to why he hasn’t been allowed the same opportunity like the others. After helping countless lost souls go through the magical door, why not him? Jealousy is a powerful thing. It makes a seemingly stable existence turn upside down. Woody loses his agent (played by a very bitchy Paget Brewster) and a new love (Olivia Thirlby as Trudy) fizzles out fast as he becomes consumed with what he sees as inequality.
It’s Woody’s journey from jealousy to anger to lost and then to understanding that makes "Welcome to Happiness" an interesting story. The theme of “losing oneself” is one that is shared by many of the characters and one that is all too universal. I don’t intend to wax poetically here, but loss is a powerful motivator for action and an easy one to relate to. It’s in the moments of loss that the actors shine through, each of them taking on a different facet.
Not all of the film is sad, however. There are great moments of quirky humor (and this is what this film does best). Some of the best moments come from Keegan Michael-Key as Proctor, a highly perky/eccentric puck. His energy colors every single scene he’s in — stealing every scene really. Nick Offerman as Moses, Woody's landlord and minder, brings a seriousness to the story that offers a guide for Woody and the audience. Like his namesake, he too enlightens us. His presence alone makes the whole film seem more grounded.
"Welcome to Happiness" starts off strong, with its whimsical world and splash of fantasy. Add to it its compelling narrative lead and you would have a runaway hit. Unfortunately as the story progresses it seems to digress from its narrative focus, seeming to lose its grip on what it wants to be and meander into a messy jumble, with its multi-colored threads bleeding out at the end.
With all its symbolism — Woody's apartment is arrayed with metaphorical alluding murals — it doesn't quite explain or show what it's trying to be. Is the doorway a form of enlightenment? Is this all real or a result of an LSD trip? Are Proctor and Moses the creators of the doorway? The film doesn't answer these questions, it merely makes the characters move on, with no other reason than it's the best thing to do.
Certain characters aren't even fully explained either. Lillian (Molly Quinn) the a pretty assistant to Proctor, is left as an ambiguous fairy-figure. Her hippy-ish ways could have made for an interesting character, yet she just floats around most of the time. Francis Conroy and Robert Pike Daniel's character names are barely even mentioned. I'd be surprised if anyone coming out of the theater remembered their names. Like Key, their cameos are funny and endearing, yet they are only shown at the end and for only a couple scenes.
That said, Welcome to Happiness does have its merits. Enough of them to make it fun to watch. If only to watch Key — he really is a hoot. Watching it is like eating Starburst — multi colored, fruity and chewy.
Directed by: Oliver Thompson
Cast: Kyle Gallner, Olivia Thirlby, Nick Offerman, Keegan-Michael Key, Brendan Sexton III, and Josh Brener
Cast: Kyle Gallner, Olivia Thirlby, Nick Offerman, Keegan-Michael Key, Brendan Sexton III, and Josh Brener