"happythankyoumoreplease" tries to answer the age−old question, "How do you find love and happiness in this world?" The film sidesteps cliches by addressing these ideas in a non−sensationalist, nonurgent way, allowing the actors to blossom under the wing of writer, star and first−time director Josh Radnor.
This light, unconventional comedy follows a cast of characters led by Sam Wexler (Radnor, of "How I Met Your Mother" fame), a writer in his mid−twenties trying to find meaning in his life. Sam is on the subway and encounters a boy, Rasheen (Michael Algieri), abandoned by his family. He takes Rasheen in despite his better judgment and against the advice of his cousin, Mary Catherine (Zoe Kazan), and his friend, Annie (Malin Akerman). The decision, however, turns out to be a good one as Rasheen exposes Sam's vulnerability and ultimately helps him navigate his way into adulthood.
The film explores what it means to love and be loved through the experiences of three different couples.
Sam meets a bartender/singer named Mississippi (Kate Mara) and eagerly jumps into a "three−night stand" in which they act like a married couple in the first week of seeing each other. His friend Annie, who suffers from a hair−loss condition called alopecia, is ironically very judgmental of others. She meets a co−worker, Sam (played by Tony Hale and dubbed "Sam #2" to differentiate from her best friend), who unabashedly loves her despite her resistance.
Meanwhile, Sam's cousin Mary Catherine navigates the sticky adult decisions of a serious relationship and watches her relationship with Charlie (Pablo Schreiber) transform as they grow older. In an introspective, self−conscious manner, the ensemble cast provides insight into the generation of 20−somethings living in New York City and offers a fresh, optimistic perspective on love.
Radnor's writing allows his characters to come alive. Sam is depicted in a down−to−earth fashion that acknowledges his strengths and weaknesses equally. The depiction of Sam's flaws makes him real and approachable to the audience. Similarly, his friend Annie, who promotes optimism and gratitude in her life's mantra, proves to be very judgmental when approached by an adoring colleague.
The character development is one of the film's strongest attributes. Mary Catherine and Charlie, although an already established couple, experience difficulties when Charlie gets a job across the country. Their problems, however, are not oversimplified, like in most romantic comedies, and their love for each other is tested in innovative yet genuine ways. Similarly, Sam's relationship with Mississippi is complicated by their personal struggles with identity, and Annie must accept herself in order to feel like she deserves love. Each relationship becomes heartbreakingly real at the film's climax, suggesting a case for the renewed faith in love.
"happythankyoumoreplease" also reworks the typical ensemble cast in a new and original way. Radnor writes about a group of characters whose lives subtly intersect, but his version proves far more successful than a film like "Valentine's Day" (2010), where the ensemble is overstuffed in order to include as many big−name stars as possible. In Radnor's indie flick, the character's lives are distinctly separate, and there is no cutesy attempt to find interesting connections between the characters. Rather, they connect through Sam and through their similar desires to find love and happiness, at any stage in a relationship.
The cast includes many underappreciated stars in Hollywood, especially Akerman and Radnor. Radnor diverges from his oversensitive character Ted, who tirelessly searches for love on "How I Met Your Mother," and transitions into a man going through a quarter−life crisis that the audience can actually care about and relate to. Akerman portrays a cynical optimist with a disease, distinguishing her from the traditional female leads in romantic comedies. She beautifully delivers the moment at which a person falls in love in a way that effectively steals the show.
"happythankyoumoreplease" is an observant commentary on life, written by someone who is more concerned with showing genuine relationships than churning out another generic romantic comedy. There is a point in the film when Annie leaves a message on Sam's machine in which she says, "Sam — go get yourself loved." This unapologetic support for falling in love is what makes the film seem impassioned, touching and inspiring in its attempt. Despite the film's focus on a set of often−asked questions, its care and dedication make it worth watching.
