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I finally finished watching this movie, I wanted to ditch it when I first saw an old and pathetic guy jerking off in the backseat of a car. That is some seriously fucked up shit. Some scenes are so depressing and disturbing. But I have to say it's a great movie. It got me thinking. Cause all those sick, twisted perverts are not so different from us, they are one of us. If they are just portrayed as "weirdos", we can just paint them with one big brush and move on with our lives; but they are not, they are normal people, just like you and me. And we have to live with the fact that deep down inside our hearts, there're something dark and twisted hiding.
Joy said：“it almost makes me want to learn how to smoke。”
明明不太开心还却要说；“this really means something to me。”这时候的Andy却突然倒打一耙说joy不懂他的好。（摘录肯定自己价值分手语录：“I’m champagne，and you’re shit，you ,not me will always be shit.”）
摸摸Joy。但从andy的角度来说，andy也代表一类有creepy趣味如送镶金钻石的烟灰缸但可爱的人，他们或许没有好身材、或许是书呆子，但他们渴望别人懂他们，当你明白对方如 joy 并不是那个真正欣赏自己的人时候，果断及时止损是非常好的。
似乎是原生家庭对其的看法“you would end up alone without a career。somehow you always seemed to failure’’不断影响着joy“
他的creepy在于他对Helen的sexual幻想、一系列像SM一样“ 绑、抽、打 pump”却不敢付诸于实际行动，以及会打电话骚扰其他人然后masturbate。最后接受真正的自我，但却也是个温柔的男人，给了Kristina一场喜欢的date，陪她吃饭吃雪糕，跳舞，肯定赞美她。told her we all have our pluses（长处）and our minuses（短处），被Helen拒绝后去寻求Kristina的庇护，不禁让我悲观想，真正的爱实在太少了，多数的爱似乎都是接受一份好与寻找备胎，电影one day，还有羡慕王小波和李银河的爱，扯远了，扯回来。
bill的creepy点在于他是pedophilia，喜欢小男孩，作为心理医生却还需要寻求心理医生的帮助。在他的梦中他说“i don’t kill myself at the end。’’这或许就是他开始释放自我的一种标志了。大家或许都有一些creepy想法但都没有付诸于行动伤害别人，但作为一个心理医生应该明白怎么开导自己的他却依旧在痛苦和纠结中选择给小男孩下药并qiangjian了儿子的同学又继续伤害了别的男孩，此刻的他感动了快乐幸福。他却又是一个很好的父亲，Trish虽是母亲但不明白billy的难过与无助，是bill作为父亲在不断在开导billy。
billy认为不能“come”时候说：“i’m not normal。”是bill给予他安慰：“oh，no，billy，don’t worry，you’re normal。
bill明白 所以他说：“I wake up feeling good，but then i’ll get depressed because i’m living in reality。’’
两段对话：1 trish：“joy’ll always be alone。’’
bill：“we’’re all alone。’’
2 bill："trish? do you love me? i mean...do you really love me?no matter what..no matter whatever....i am sick..."
总是认为自己的生活是美满幸福的，透露着满满的优越感以及说着：“you know i’m just speaking to you for your own good.’’却不经意的打击joy,认为自己的丈夫就是全世界最好的男人自己是最幸福的女人，对儿子billy的疑惑甚至有点不以为然。我感觉trish有点活在自己的世界而难以洞察外部的现实，幸福与快乐对于她来说就是自己创造的“美好”的家庭。
以前没看过Todd Solondz的电影，看了此片后兴奋得接连几天看了另外几部他的作品。Welcome to the Dollhouse 欢迎来到玩具屋（1995），Palindromes 回文（2004），Life During Wartime 战争时期的生活（2009，算happiness的续集）。可惜喜爱的程度和年份增长成反比。
Todd Solondz's ``Happiness'' is a film that perplexes its viewers, even those who admire it, because it challenges the ways we attempt to respond to it. Is it a portrait of desperate human sadness? Then why are we laughing? Is it an ironic comedy? Then why its tenderness with these lonely people? Is it about depravity? Yes, but why does it make us suspect, uneasily, that the depraved are only seeking what we all seek, but with a lack of ordinary moral vision? In a film that looks into the abyss of human despair, there is the horrifying suggestion that these characters may not be grotesque exceptions, but may in fact be part of the mainstream of humanity. Whenever a serial killer or a sex predator is arrested, we turn to the paper to find his neighbors saying that the monster ``seemed just like anyone else.'' ``Happiness'' is a movie about closed doors--apartment doors, bedroom doors and the doors of the unconscious. It moves back and forth between several stories, which often link up. It shows us people who want to be loved and who never will be--because of their emotional incompetence and arrested development. There are lots of people who do find love and fulfillment, but they are not in this movie. 影片让观众们迷惑，即使是导演的影迷也如此，因为我们不知道对这部影片应该做怎样的回应。是一部描写绝望的人们的悲哀的影片吗？那么为什么我们会笑？是一部讽刺性的喜剧吗？那为什么如此细腻地描写这些孤独的人？是关于人的堕落的影片吗？或许是吧，但是为什么它让我们沉重地怀疑那些堕落的人追寻的正是我们所共同追寻的东西，而片中没有丝毫的正常价值观的试点？这样一部探讨人性绝望深渊的影片给了我们一个可怕的提示，片中的这些角色或许不是什么荒诞（grotesque）的特例，而是真实存在在人性的主流中。每当一个连环杀手或者性奴役者被逮捕的时候，我们翻开报纸看都看到他的邻居们说这个恶魔“就和我们没什么区别”。这是一部关于紧闭的门户的影片：公寓的门，卧室的门，潜意识的门。影片游走于几个相关联的故事之间。它向我们展现了那些想要爱和永远得不到爱的人——因为他们情感上的缺失和生理发育不善。有很多人得到了爱，得到了成功，但是他们不在这部电影里。
Why see the film? ``Happiness'' is about its unhappy characters, in a way that helps us see them a little more clearly, to feel sorry for them, and at the same time to see how closely tragedy and farce come together in the messiness of sexuality. Does ``Happiness'' exploit its controversial subjects? Finally, no: It sees them as symptoms of desperation and sadness. It is more exploitative to create a child molester as a convenient villain, as many movies do; by disregarding his humanity and seeing him as an object, such movies do the same thing that a molester does. 那么为什么要看这部电影？它讲述了那些不幸福的人物。讲述的方式让我们看他们看的更清楚，开始同情他们，同时让我们看到悲剧和戏剧相结合的两性之间的乱事。影片是在剖析（exploit）这些具争议性的话题吗？到最后我们发现没有。它把这些东西看作是绝望和悲伤的症状。更加赤裸的剖析，应该就和大多数电影一样，把一个性骚扰儿童者塑造成一个信手拈来的坏蛋（convenient villain）。但是影片把他的人格降级，把他看作一个物体。这种做法无异于一个性骚扰者。
These are the kinds of thoughts ``Happiness'' inspires. It is not a film for most people. It is certainly for adults only. But it shows Todd Solondz as a filmmaker who deserves attention, who hears the unhappiness in the air and seeks its sources. 这就是影片给人带来的启发。这显然不符合大众口味。这必然是儿童不宜。但是这也让人们开始关注Todd这个能够东西生活中的不幸并且寻找它们的根源的导演。
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Everybody have their creepy love
and everybody maybe or not sick。
(仅仅为自己看电影的一些小感悟，想要电影资源的可以私我 我有百度网盘 但是我下载的资源字幕翻译像是机翻 建议英语好的小伙伴直接忽略中文看英文）
Happiness讲的是一个大家庭的故事 一对步入晚年的夫妻、大女儿Helen 、有两个儿子和可爱狗狗cooki及一位心理医生老公bill的Trish、还有小女儿Joy。包括一些其他人如有喜欢意淫 helen的邻居胖子 和胖女人Kristina之间每个人的小故事。
同时这部电影属于黑色幽默，电影不乏些许让大多数人不适且感到a bit of creepy or crazy的画面。如果你是一位能透人性底下本质的黑暗，却能以积极幽默的态度去对待生活的悲观的乐观主义者，那此电影你会回味无穷。
（含剧透）
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电影的名字虽然是happiness爱我就告诉我 翻译的很好，因为电影里面讲述的就是主角如何表达对于他们所理解的爱 但观赏整部电影的细节其实都是和happiness相反，是大家不为人知的那一点点creepy和abnormal行为及想法 但最后却因为这一些相反相成又重新组合成了幸福 happiness。
我们或许都有自己的社会角色，所以我们需要扮演好，但是私底下的我们，真正的我们或许都有一些creepy之处，我们一面渴望释放真正的自己，一面却又害怕吓跑别人且渴望着被爱。能说我们是sick的吗，或许是又或许不是吧，因为哪一个都是真正的自己。
“JOY”
Joy的creepy点在于她是明显的讨好型人格，joy的爱是附和，很难对自己好，一般都委屈着自己。
开头是小女儿Joy和男朋友Andy吃饭，以为andy送戒指的joy却收到了一个刻着“Joy”的烟灰缸，
Joy said：“it almost makes me want to learn how to smoke。”
明明不太开心还却要说；“this really means something to me。”这时候的Andy却突然倒打一耙说joy不懂他的好。（摘录肯定自己价值分手语录：“I’m champagne，and you’re shit，you ,not me will always be shit.”）
摸摸Joy。但从andy的角度来说，andy也代表一类有creepy趣味如送镶金钻石的烟灰缸但可爱的人，他们或许没有好身材、或许是书呆子，但他们渴望别人懂他们，当你明白对方如 joy 并不是那个真正欣赏自己的人时候，果断及时止损是非常好的。
似乎是原生家庭对其的看法“you would end up alone without a career。somehow you always seemed to failure’’不断影响着joy“
Joy就算遇到指责也很难强硬起来，而是默默在角落画圈圈流泪类型。所以taxidiver略施展小技巧肯定赞美joy顺带强势一点便轻易上手joy，随即暴露本性，拔dior无情。还被他吸taxidiver的情人们攻击，joy呀，可长点心呐。
“胖胖”（忘记他的名字了）
他的creepy在于他对Helen的sexual幻想、一系列像SM一样“ 绑、抽、打 pump”却不敢付诸于实际行动，以及会打电话骚扰其他人然后masturbate。最后接受真正的自我，但却也是个温柔的男人，给了Kristina一场喜欢的date，陪她吃饭吃雪糕，跳舞，肯定赞美她。told her we all have our pluses（长处）and our minuses（短处），被Helen拒绝后去寻求Kristina的庇护，不禁让我悲观想，真正的爱实在太少了，多数的爱似乎都是接受一份好与寻找备胎，电影one day，还有羡慕王小波和李银河的爱，扯远了，扯回来。
（演员霍夫曼本人是奥斯卡影帝，但2016年因为吸毒过量而死亡 R.I.P。他没有英俊的外表和高大的身材，虽然骨子里充斥着着自负和不安，成功也患得患失，却显然有表演的天赋，有天赋之人已是天选之子，却从未想过锤炼天赋所需要的代价，对于有天赋的艺术家来说，这种折磨往往是双倍的：想做到心中标准的好，需要悬梁刺股的过程；做得不好，更要接受内心的拷问，敏锐和敏感交替出现，自我肯定和自我否定同时存在，哪一面是真实的自己，恐怕难以分辨。为霍夫曼献花????）
“BILL”
bill的creepy点在于他是pedophilia，喜欢小男孩，作为心理医生却还需要寻求心理医生的帮助。在他的梦中他说“i don’t kill myself at the end。’’这或许就是他开始释放自我的一种标志了。大家或许都有一些creepy想法但都没有付诸于行动伤害别人，但作为一个心理医生应该明白怎么开导自己的他却依旧在痛苦和纠结中选择给小男孩下药并qiangjian了儿子的同学又继续伤害了别的男孩，此刻的他感动了快乐幸福。他却又是一个很好的父亲，Trish虽是母亲但不明白billy的难过与无助，是bill作为父亲在不断在开导billy。
billy认为不能“come”时候说：“i’m not normal。”是bill给予他安慰：“oh，no，billy，don’t worry，you’re normal。
bill明白 所以他说：“I wake up feeling good，but then i’ll get depressed because i’m living in reality。’’
两段对话：1 trish：“joy’ll always be alone。’’
bill：“we’’re all alone。’’
2 bill："trish? do you love me? i mean...do you really love me?no matter what..no matter whatever....i am sick..."
Bill看穿了一切了解自己却又无可奈何的活着，他明白自己的癖好，却也渴望伴侣知道之后依旧能爱他，接受他。
“TRISH”
总是认为自己的生活是美满幸福的，透露着满满的优越感以及说着：“you know i’m just speaking to you for your own good.’’却不经意的打击joy,认为自己的丈夫就是全世界最好的男人自己是最幸福的女人，对儿子billy的疑惑甚至有点不以为然。我感觉trish有点活在自己的世界而难以洞察外部的现实，幸福与快乐对于她来说就是自己创造的“美好”的家庭。
“LENNY和MONA”
结婚四十年了严肃的父亲和以爱为生的母亲，就像是大多数的男女性，男人想要逃离，他们只想要孤独与自在，女人却不肯放他们走，她们需要爱需要安全。他们老了，却依旧也不太明白属于自己的幸福与快乐是什么
“HELEN”
一位美丽霸气的女人，我看作是新时代女性，独立自主，是作家，会约会帅哥，“成功”在于事业。但同样的都是两人对于joy所透露出的优越感，但是也有其写作的困扰，在遇到邻居家的creepy phone call后激发了内心的澎湃，但是美女见到小胖胖本人后还是选择了拒绝，抱抱胖胖。但Helen看似成功 但好似也不太明白快乐幸福是什么。
（题外话：美女姐姐在我喜欢的导演大卫林奇90年代初拍摄的双峰镇中嫩的可以掐出水）
“KRISTINA”
嗯，强悍胖胖女邻居，平时温婉可人，在遇到把qj自己的安保后直接杀掉分尸了哈哈。她的内心也渴望着爱，人人都需要。
“BILLY”
太可爱了，爱着自己的爸爸，然后全剧高潮于finally他come了并且讲
“i came”。
配合ed歌词：happiness’ you know you just can’t stay…so far away…from me。结束。
所以幸福快乐是什么，你知道，我好像知道却又不知道。
以前没看过Todd Solondz的电影，看了此片后兴奋得接连几天看了另外几部他的作品。Welcome to the Dollhouse 欢迎来到玩具屋（1995），Palindromes 回文（2004），Life During Wartime 战争时期的生活（2009，算happiness的续集）。可惜喜爱的程度和年份增长成反比。
他的片子（除了最近的那部）有种很强烈的八九十年代的味道。就是记忆里那时候的人花大浓妆，顶个高高的刘海的那种俗气的感觉。有服装道具布景的关系，有选角的关系（导演真偏爱丑角啊），还有就是用平板的日光和柔光吧。画面的庸俗恰好和本片肥皂剧似的情节呼应，真是太恰当了。
两个多小时的电影一点不觉得长，一直在大笑或扑哧中度过，大概极端符合我的恶趣味吧。让我笑得如此会心的怕只有Luis Buñuel的某些电影了吧。尤其喜欢那个爱提问题的小男孩，每次都犹犹豫豫但说的话又很赤裸。娈童癖的爸爸这个演员（Dylan Baker）选的太好了，比“战争时期的生活”里那个逼真多了，那种掩饰不掉的欲望尽在眼底。那个宅男（Philip Seymour Hoffman饰）也演得特别好。他演过的角色多少有些这种木讷无趣的感觉，但我觉得他其实挺性感的（如果不那么胖的话）。
不想多说情节，自己看吧（我看了已经有些时候了，具体也记不了那么多，只是常常回想起一些有趣的片段还是忍俊不住）。本片剧本相当精彩，算黑色幽默吧，是一种精确拿捏的幽默，有点变态，有点正经，多一分则太俗，少一分则不好笑。各种对比和节奏恰到好处。画面不暴露不暴力，但有很强的心理暗示，会让人有很多联想。
这个片子大家都可以看，我不觉得有适不适合看的问题，除了特别保守顽固的人。
Todd Solondz's ``Happiness'' is a film that perplexes its viewers, even those who admire it, because it challenges the ways we attempt to respond to it. Is it a portrait of desperate human sadness? Then why are we laughing? Is it an ironic comedy? Then why its tenderness with these lonely people? Is it about depravity? Yes, but why does it make us suspect, uneasily, that the depraved are only seeking what we all seek, but with a lack of ordinary moral vision? In a film that looks into the abyss of human despair, there is the horrifying suggestion that these characters may not be grotesque exceptions, but may in fact be part of the mainstream of humanity. Whenever a serial killer or a sex predator is arrested, we turn to the paper to find his neighbors saying that the monster ``seemed just like anyone else.'' ``Happiness'' is a movie about closed doors--apartment doors, bedroom doors and the doors of the unconscious. It moves back and forth between several stories, which often link up. It shows us people who want to be loved and who never will be--because of their emotional incompetence and arrested development. There are lots of people who do find love and fulfillment, but they are not in this movie.
影片让观众们迷惑，即使是导演的影迷也如此，因为我们不知道对这部影片应该做怎样的回应。是一部描写绝望的人们的悲哀的影片吗？那么为什么我们会笑？是一部讽刺性的喜剧吗？那为什么如此细腻地描写这些孤独的人？是关于人的堕落的影片吗？或许是吧，但是为什么它让我们沉重地怀疑那些堕落的人追寻的正是我们所共同追寻的东西，而片中没有丝毫的正常价值观的试点？这样一部探讨人性绝望深渊的影片给了我们一个可怕的提示，片中的这些角色或许不是什么荒诞（grotesque）的特例，而是真实存在在人性的主流中。每当一个连环杀手或者性奴役者被逮捕的时候，我们翻开报纸看都看到他的邻居们说这个恶魔“就和我们没什么区别”。这是一部关于紧闭的门户的影片：公寓的门，卧室的门，潜意识的门。影片游走于几个相关联的故事之间。它向我们展现了那些想要爱和永远得不到爱的人——因为他们情感上的缺失和生理发育不善。有很多人得到了爱，得到了成功，但是他们不在这部电影里。
Why see the film? ``Happiness'' is about its unhappy characters, in a way that helps us see them a little more clearly, to feel sorry for them, and at the same time to see how closely tragedy and farce come together in the messiness of sexuality. Does ``Happiness'' exploit its controversial subjects? Finally, no: It sees them as symptoms of desperation and sadness. It is more exploitative to create a child molester as a convenient villain, as many movies do; by disregarding his humanity and seeing him as an object, such movies do the same thing that a molester does.
那么为什么要看这部电影？它讲述了那些不幸福的人物。讲述的方式让我们看他们看的更清楚，开始同情他们，同时让我们看到悲剧和戏剧相结合的两性之间的乱事。影片是在剖析（exploit）这些具争议性的话题吗？到最后我们发现没有。它把这些东西看作是绝望和悲伤的症状。更加赤裸的剖析，应该就和大多数电影一样，把一个性骚扰儿童者塑造成一个信手拈来的坏蛋（convenient villain）。但是影片把他的人格降级，把他看作一个物体。这种做法无异于一个性骚扰者。
These are the kinds of thoughts ``Happiness'' inspires. It is not a film for most people. It is certainly for adults only. But it shows Todd Solondz as a filmmaker who deserves attention, who hears the unhappiness in the air and seeks its sources.
这就是影片给人带来的启发。这显然不符合大众口味。这必然是儿童不宜。但是这也让人们开始关注Todd这个能够东西生活中的不幸并且寻找它们的根源的导演。