I didn't really like MARGARITA HAPPY HOUR, one of last month's Reel 13 Indies – the one about starving artists in Brooklyn who struggle with the transition of their youthful partying lifestyle to reality-based family life. However, just because I didn't like it doesn't mean that it was poorly made, which is usually the case with the Reel 13 Indies. MARGARITA HAPPY HOUR showed some skill from director Ilya Chaiken. There are several interesting shots and sequences, from a visual point of view. For an independent film, it never feels empty or overly cheap. It feels alive and vital. Furthermore, the premise itself is interesting – young mothers who are also hipsters. It seems that MARGARITA HAPPY HOUR had a lot going for it – if only the characters were the least bit likeable.
That's the root of my issue with HAPPY HOUR. Firstly, there are way too many side characters and subplots that are difficult to get to know and keep track of. The film does manage to focus on one primary character – Zelda, as played by Eleanor Hutchins, but unfortunately she's the least likeable of all. Hutchins seems to come from the sneering school of acting, scrunching her face with angst or irritation whenever a reaction is required. She has zero charisma and her line readings are often flat and uninspired, which makes following her character arc frustrating and tiresome. It's not that she looks uncomfortable on camera or doesn't seem to be trained. It just seems like her the choices that she makes don't work. Though their tics and issues are different, this is basically true of most of the supporting characters as well, with the notable exception of Holly Ramos as Zelda's recovering addict friend, Natalie. Ramos (who also wrote several songs on the soundtrack), with her dream-like, soft, sing-song delivery and her slow, careful body language, is a truly interesting characterization and seemingly realistic portrayal of a person readjusting to real life. She incorporates a sort of groggy element to her character, as if just waking up after a decade-long sleep. As a matter of fact, the only real drama that the narrative provides is whether or not Natalie would fall off the wagon. Unfortunately, not nearly enough time is given to Ramos or her storyline.
Another reason I think the film fell flat has to do with the editing, which overall felt forced – an overly fast, jumpy cutting style that wasn't really called for by the narrative. It caused some confusion at times, particularly at the beginning when the audience is just getting their feet wet. The film does not move between past and present very fluidly, which only adds to the confusion. Furthermore, scenes don't end where they ought to and go on too long, diluting any impact that they might have had. The overlapping conversations during the titular happy hour scenes also go on too long and aren't very effective in either establishing character or plot. They wind up just being noise.
The biggest disappointment of MARGARITA HAPPY HOUR is that it's a waste of potential. There is a story there. It is a world that we don't see very often and it's a world with interesting dilemmas and characters. These characters who ostensibly went to college to follow some sort of artistic endeavor and avoided responsibility for most of their lives now have to buckle down and come face to face with parenthood, taxes and the exigencies of the real world. The drama is intrinsic within that concept, but MARGARITA HAPPY HOUR fails to capitalize on it thoroughly. With more charismatic actors and a more tightly structured script, it could have been really strong. This isn't to say that MARGARITA HAPPY HOUR is awful, but it's not very good either.
(For more information on this or any other Reel 13 film, check out their website at www.reel13.org)