The 1997 film “What Happened Was . . .” explores a kind of failure that feels familiar right now. “It’s the existential, bottomless sense that our realities might be built on sand, that life wasn’t supposed to be like this,” howardfishman writes.
.” It achieves a level of ineffable poignancy reminiscent of Richard Linklater’s “Before Sunrise,” released a year later, and in some ways feels like that film’s smarter ugly sibling––the one we foolishly ignored, only to have her dazzle us at a reunion years later with her late-blooming brilliance.
Most of the other effects Noonan employs are so sneaky as to be barely perceptible. When the tone of the film pivots and shifts about halfway through, the hues of the characters’ clothes change. The yellow eyes of a “Cats” poster on the wall are red in the second half, and the colors of the walls themselves are different. Two different kinds of film processing were used in postproduction for each of the two halves of the movie—one cool and sharp, the other saturated and fuzzy.
I decided to wait it out. I put the phone on speaker and did other things. I read the paper. I paid some bills. I did the dishes. If Noonan has simply forgotten that I’m here, I thought, at some point he’s surely going to need his phone for something, and then we’ll just pick up where we left off. A few days later, he greeted me at his venue, the Paradise Factory theatre, on East Fourth Street . As we talked in the empty black box, Noonan revealed more about himself. He’d grown up in Greenwich, Connecticut, and studied at Yale, where he’d had a debilitating breakdown. Noonan lived in San Francisco, Oregon, Arizona, and on a commune with Kevin Rafferty in Boston before moving to Manhattan, in the late seventies, to pursue a music career.
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