Such earnest evocation of convention can prove testing, even whilst entertaining; in Huth’s experienced hands, the commitment to sweetness and silliness almost conquers all.
His scenario, co-written with his spouse Sonja Shillito (Hellphone), screams of formula, tracking the intersection of the free-spirited Sacha (Gad Elmaleh, The Round-Up) and upwardly-mobile Charlotte (Sophie Marceau, The Age of Reason). The relationship-phobic former pines for musical stardom, but bides his time tickling the ivories in jazz bars and composing advertising jingles; the mother-of-three later enjoys the spoils of her former life as a trophy wife, albeit under ever-watchful eyes; their courtship springs from the requisite meet-cute to unravel with the standard “clash of lifestyle” problems.
The narrative twists happily follow the predictable path, as Sacha contemplates the baggage of their otherwise idyllic romance, and Charlotte struggles with the immaturity that tempers her perfect partner – the accompaniments to their future success that inform the film’s title. New territory is not traversed nor even considered, with the usual tropes and clichés lingering over every development; yet, such whole-hearted acceptance of the standard elements of the genre allows warmth, wit and a wackiness that manifests in physical comedy to come to the fore.
Central to Huth’s appropriation of platitudes into a pleasant and palatable effort are the lead performances, contrasting in their character traits but united in their balance of comedy and drama. In small but significant moments, Elmaleh invests his man-child persona with insight into the fear of actually achieving your dreams. As the source of much of the feature’s slapstick incidences, Marceau is as relatable as she is radiant – whether clinched in a passionate embrace, trading barbs with her smart kids, or tumbling down a flight of stairs.
A rainbow of colours glossily casts the Parisian setting in a wistful hue, just as the littering of cinematic references amplifies the evident homage to the screwball screen greats of years past, with both adhering to the prescription. The examination of middle-aged dating may remain unsurprisingly spirited but superficial, but depth is far from the point or purpose. Instead, with its finessed farce, comedic choreography and convincing chemistry, Happiness Never Comes Alone allows audiences to effortlessly enjoy the sincerity of its unoriginality.
Rating: 3
Happiness Never Comes Alone (Un bonheur n’arrive jamais seul)
Director: James Huth
France, 2012, 110 mins
Release date: May 30
Distributor: Madman
Rated: M
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