Mike Leigh’s Happy-Go-Lucky begins as a leisurely yet engaging character study, seemingly unconcerned with a traditional conflict/resolution narrative. Sally Hawkins’ performance as Poppy, a bubbly, sarcastic, and endearing elementary school teacher is a delight to watch. An hour into the film, I pleasantly resigned myself to enjoying it as a disconnected series of episodes. This could have been annoying, if not for the stellar performance by Hawkins. Her comedy and breezy demeanor nearly covers Poppy’s immaturity and apparent fear of commitment, while still giving us a glimpse that something more lurks beneath all the giggles and quips.
The character is so delightful, in fact, it almost comes as a surprise when conflict eventually erupts between her and her driving instructor Scott, played by Eddie Marsan. It’s a marvel that the animosity between these two characters, and the eventual resolution, is so well-rendered, considering how late it appears in the film. This is by no means sloppy filmmaking on the part of Leigh. On the contrary, he has perfected a sort of inverse method of story telling. Whereas normally we are dumped into a narrative-in-progress and bombarded by exposition to let us know who the characters are supposed to be, Leigh takes his time, building his characters first, then letting the drama follow.
When I asked him if the conflict between Poppy and Scott was part of the initial concept of the film, he said, “No…you explore and develop, and out of it comes the drama. It can’t be there at the beginning because you have to have the characters there before you have the drama.”
More from Leigh after the jump.
