Veronica Guerin
3 (60%) 1 vote

Veronica Guerin

Michael Hanque is a name that always connects to the servant with the most complex human verbs in an era full of ambiguity of modernity. With his cinema, you can travel to your labyrinths in the minds of humans, and the experience of seeing each of his works is an odyssey poem. From his first film The Seventh Continent, he began to create a horrible image of modern humans, and stepped up into stairs in works such as piano teacher, hidden, Benny video and white ribbon, to the point where ultimately ridiculous games peaked. A terrible act of the contradictions of human desires.

Hanke’s cinema is basically a cinematic complex of complexities and crises. In his world, who can be thought of as dictators of deadlocks, people in their orbit are devastating prisoners, and the utopia of this indifferent soberman, Sadomozovichism, and the fall of human morality. The complexities of the element of perseverance in continuity with the form of its films create an unconsciously abusive density for the audience. Of course, this harassment is meant to distort truths in an orbit-free stagnant system that throws the audience into an object’s prison in a symbolic world. After the creation of the movie “Love”, an epitome for human loneliness, the Austrian filmmaker has now created a “Happy End” with a 5-year hiatus. A film that, if we want to define the story in a line, is to say that we are to witness the life of the hidden hatred and the anger of a bourgeois family.

happy end of hello hanke

But in the first serious commentary without prejudice, the “happy ending” is Haneke’s most unlikely film. The work that made the servant look like a fan of the movie maker at first glance. Because we’re on the side of the film, which is not a footprint of a sophisticated hunk, full of imagery. To the extent that the film is made by a European novice director to stabilize himself in the artistic stream, he lowers our expectations from the well-known filmmaker we know. Of course, it should be added that, as if Hanek would like to experience a new narrative style in his art career, Hanakeh. At the end of the day, there is no fanfare for the hustle and bustle of crisis. Contrary to the formics of the author, the film does not go into dramatic changes with thematic and motifs, and basically does not have Hanke’s central and multidimensional staffing. Initial sequences like Benny’s video begin with a clips view of the Evo Laurent Mobile, a child of the central character of the film.

Eve is filming her mother’s toothbrush in the bathroom, and instead of hearing the dialogue, we’ll see the girl’s comments on her phone’s page. The initial temperate atmosphere of the mummies, with the same humorous motifs without Haneke’s music, continues, and this general process continues with the continuity of silence and the lack of dialogue. In the middle of the film, we find that the bourgeois family is a breakthrough in the continued life of the Laurent family in the previous film, Love. George Laurent (John Lewis Trinity) is now living with his daughter and son and grandchildren after being choked off by his helpless wife. Now the filmmaker has used the theme of his previous work to transform some sort of “love” crisis into a “gloomy end” to a complex milieu. But the main problem of the film was not in the same weakness as the crisis, which confuses drama and trend.

happy end of hello hanke

The first Achilles’ heel of this work is the naming of the various stories in the vignette, which, unfortunately, will not end up until the end. Eve’s story and her mother, the alleged internet connection of a girl with Thomas Laurent (Matthew Clauswitz), the story of the company and its financial problems, which, until the end, does not reveal what is the economic deadlock in the Laurent family? Is it related to the earthquake or a fall of the bourgeoisie? Or the dishonorable relationship of Laurent (Isabelle Hooper) with the revenger and ultimately the marriage in his shadow, and finally the obscure nature of the crisis of secret violence that is supposed to be transferred from grandparents to grandchildren.

Read More: Formal Form and Cinema Reviews

As you can see, during the performance of any of these stories, the filmmaker does not sit and only abstract expression remains. The odd and weird problem of the film is the names of the characters who have experienced a paradoxical disturbance and this question is posed to people. As we have mentioned, “happy ending” is the continuation of the life of the Laurent family. But in the movie “Love,” the name of the character Isabelle Hooper was as his daughter, the old man and the old woman, “Eve” and his mother’s name (Imanuel Riva) “It’s Laurent” but in the “happy end” is contradictory by the name of the daughter of Isabelle Hooper family “And the name of the little girl,” Eve, “though the filmmaker wants to say explicitly that its future (Isabelle Hooper) is like his mother’s deadlock, and the future of the grandson of the Laurent,” Eve “of the current life Isabelle Hooper. But, instead of such a trivial act for the transfer of such a concept, Hanakeh could have transmitted this content with proper form and characterization, and such a solution would be verifiable in the potential of our author’s filmmaker.

happy end of hello hanke

With all these talks, “happy ending” has at least the style of the Hanque style camera in its author’s field, but these techniques are not enough to create a form. Michael Hanke, like other filmmakers who have presented separate works in their style and work, wanted to test a new narrative. Just like Ingmar Bergman with the “Seal of the Snake”, David Lynch with “Story Street”, Lawrence von Trier with “all those bosses”, Gaspar Noe with Love, Roman Polanski with “Pianist” and …



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