scumbag.com In the modern limitless world of wireless Internet, the overwhelming majority of users’ interests are reduced to Mobius’ mocking loops not to self-education and understanding everything new, strange, unusual, but to the banal search for their 5 or 15 minutes of fame or shame on various video hosting sites, or to even more trivial sweating through simple sexual frustrations through the relevant sites. Porn is ineradicable, porn is ineradicable, and every sexually mature inhabitant of our blue planet Earth is secretly or openly, but dreams of becoming the new Rocco Siffredi, who shampoos another Jenna with an ahaltekin corrugated hose, penetrating her hot gaping anal. One such fan of wet pleasures named Dave was once unspeakably lucky in his unleavened life. He won, and also for the first time in his life, a competition called “Fuck with a porn star”, which was held under the auspices of the website “Happy Bastard”. Such a bastard, shining with happiness and nervous from spermotoxicosis, was Dave, but this was only the beginning of a story in which only sex did not cost one.
The directorial debut of the famous American producer and screenwriter Robert Nathan, who at one time took a direct part in the creation of such cult series as “Ambulance” and “Law and Order”, the film “Happy Bastard” in 2014 was shot in a sharp narrative manner of pseudodocumentary dirty realism, at the output representing a sulfuric acid concentrate of sex and violence, which does not go away in the aberrante of a shocker or redundancy of a grindhouse, although permanently hanging on a thin pubic pubic moule of a pseudo-documentary dirty realism, which can hardly be affected by a specialty of the pornography of the filmmaker on a modern pornography, who can be touched by the art of a pornographical method of the local pornography of the film, who is directly affected by the pornography of the pornography of the film. Robert Nathan, in fact, shot an uncompromising and purely nihilistic in spirit, not that pornography, not that porn-thriller, not that pornodrama, in which the main thing is not “porn”, regularly performing the utilitarian function of trolling, but horror / thriller / drama. Hard sex in the picture is nothing more than an additional and pleasant bonus in a story where sex is not the main thing. Sex - accomplished or not - in the picture is a kind of non-trivial catalyst for the entire further plot of the film, which increasingly begins to gain gloomy, sinister and very bloody turns, radically changing the genre vector of the tape and rebuilding the entire narrative almost to the ground. From porn to a nasty nightmare that will not have predictable moves.
Despite its obvious pornography and graphic hardness of BDSM varieties, “Happy Bastard” is mostly far from hundreds of thousands of monotonous pornexersis of varying degrees of duration and perversion. The film of Robert Nathan is primarily a story of the formation and progressive cultivation of an ordinary maniac of a psychopathic nature, who quite quickly replaced the cassock of an insecure lover of libertines from the network with a misogynistic, distorted by insanity and pain, a dehumanized creature who, with the inevitability of a meat-laden goodsman, begins to avenge everyone for his troubles, to take revenge quite according to the precepts of Ed Gaine and Jeffrey Dahmer. But why did cute Dave become this way? This is hardly to blame for his high insecurity in front of the Zeissian lens or sexual inconsistency. It is hardly the fault of the system of entertainment to which he is accustomed, for it is foolish to blame the mirror, as if the face of a curve, quoting a classic. His psychosis with apparent suddenness and even haphazardness has the features of inevitability, because sooner or later, but Dave would still go crazy. There is something or someone in Nathan’s misty, unclarified past who has nurtured him as a future monster, one or others who have brought him to a point he has crossed unnoticed but irrevocably, for the roots of evil are corny hidden in the past, perhaps as a child. The line between normality and total insanity. The closer the finale, the more the picture becomes fierce, cruel, it echoes the motifs of such essentially different films as Anderson’s Boogie Nights, Lustig’s Maniac and Harron and Ellis’ American Psycho. Alas, “Happy Bastard” nevertheless does not pretend to be a full-fledged author’s statement, not being a bright denunciation of the porn industry or modern philistine consciousness, but remaining only a bold enough example of modern independent American cinema. The finale is deliberately realistic to the eerie, and it is designed to knock the ground out from under the feet, leading the viewer to the end of the human soul that has gone into darkness, where there is no man at all, but only a lustful beast of the Gopnik type, who blames everyone for all his failures, but not himself. Society will quietly digest another maniac, and his goal will be achieved.