Lichter der Vorstadt

Night watchman Koiskinen lives an alienated life. Ridiculed and shunned by his workmates, regarded as incompetent by his employers, he lives alone, drinks alone, and only manages to talk in any decent way with the woman who sell hot dogs in the fast food stand. His life changes when a mysterious blond takes a sudden and unexpected interest in him.

As a Kaurismaki novice, I was struck by the spartan sets, strong primary colours, and the actors penchant for walking briskly into frames and then freezing, akin to amateur theatre in the village hall. Once you figure out it is all a send up, the film is fun and moves along quickly enough. The dry, pared down dialogue, lack of sentiment, and black humour are interspersed judiciously. There seems to be a record attempt for number of cigarettes smoked in a film going on. The Finnish attitude to alcohol makes Scotland seem like Utah. Throughout it all, Koiskinen infuriates with his passivity. His minor triumph at the end, finally making the right decision, is small, fleeting and perfect in this context. The film is both downbeat and uplifting. I don't recommend watching Kaurismaki films back-to-back, but as an antidote to an overdose of Transformers or Harry Potter, this works perfectly.

When you find a formula that works, you often stick to it even to the point of spinning your wheels until you become something of either an establishment or a cliché. Director Aki Kaurismaki may do well to bare this in mind before embarking on his next languid look at sad-faced Finns moving in somnambulistic circles through the streets of Helsinki.

Perhaps considering JUHA and MAN WITHOUT A PAST too fast-paced, Kaurismaki slows down the action in LIGHTS IN THE DARK to a snail's pace.

Despite making me wonder if Kaurismaki is playing it safe by recycling the same ideas, his films are often like comfort food and it would take a lot to make me sick of macaroni and cheese. Rather than keeping on the safe ground, Kaurismaki could follow in the footsteps of his friend and fellow minimalist auteur Jim Jarmusch and make Finnish equivalents of GHOST DOG or DEAD MAN. On second thought, keep with what you're doing, Aki.

Compared to normal Hollywood movies I still enjoy Kaurismäki's films, but this is definitely not one of his best ones.

One of the biggest problems of this film is the director's attitude towards his main character. Koistinen's situation is getting worse with every action he takes. That's not the problem, but Kaurismäki doesn't offer a minimum of possible explanations to Koistinen's behaviour.

I don't expect a complete interpretation of his work by a director or by an author, but as a viewer of a film or as a reader of a book you need at least some information to start at. So I can only imagine that the reasons for Koistinen's behaviour lie in his state of mind and/or in his past.

But this is criticism at a high level. There are still some typical Kaurismäki-scenes in this film which I like a lot.

This film is an excellent comment on the downward spiral of an individual resulting from a very unequal society with a faulty / oblivious criminal justice system that punishes the innocent, band-aids the symptoms of social ills, but does not address root causes, and the long term social effects of imprisonment. The little guy's life is ruined while the real criminals get away with anything - just like in the real world! Hard work gets you nowhere! Neither does loyalty! It presents in a wonderfully bittersweet way the existential angst of a life at the bottom, just scraping by, against the coldness and apathy of a kind of extreme-Darwinian world where life is brutish and short. Ultimately, a tiny crack of light opens at the end, through humans simply caring for each other. But, like in the real world, you might die before anything good happens. A very stylized film, filmed almost like a comic book, impeccably detailed, spare, and melancholy but beautiful.

At the center of this film is a man named Koiskinen (Janne Hyytiainen). He is an isolated security guard and his story is one of cruel deception and eventual, utter downfall.

Though Koiskinen's slicked-back hairstyle wouldn't seem fashionable outside of a Forties gangster film, he's really not a bad-looking guy; he just isn't a leading man. But Koiskinen's outcast status is a given we can't question. He has a slightly hangdog quality. He has dreams of starting his own company, but this seems a laughable illusion; he is scorned even by his coworkers. He has no life. The uniform, cigarettes, the lockers, the cold nightly guard duty, a dreary flat. These are the boundaries of his existence.

In fact what's curiously enchanting about Kaurismäki: the analytical certainty of his downbeat riffs.

Quite inexplicably, Mirja (Maria Jarvenhelmi), a well-dressed, striking, enigmatic woman, almost albino in her blondness, picks Koiskinen up in a bar and begins dating him. How can he resist? Her motives, however, are none too good. In fact they are of the worst kind. She is the agent of a nefarious higher power. You might not think Finland had gangsters but this is Helsinki, and the wide shots of the dark city at night are luminous and powerful, underlined by haunting tango music -- not an arbitrary but an indigenous choice, because after Argentina, Finland is the first capital of the tango. The movie is drenched in romantic music -- Puccini, Manon Lescaut, Gardel's "Volver," and Finnish tangos. There is a sweep about it, but the sweep is ominous.

Koiskinen has no part of the city's power, except as its victim. He exists to be exploited -- and with rigor. It's sad, because no matter how bad things get, he goes on dreaming. But his life is a dream, and he is unaware of what's happening to him. Out of deference, Finns don't like to look you in the eye when they speak. Aila (Maria Heiskanen), the woman who cares about Koiskinen, who runs a refreshment stand in a vacant lot, he has little use for.

Kaurismäki's sequences of scenes are as bold and assured as they are ironic. This is a pessimistic, but curiously vibrant view of life. There was never a more willing dupe than Koiskinen. This film has the squirming life of a pool full of sharks devouring carp.

Laitakaupungin Valot, called Les lumières du faubourg or "suburban lights" in its French release and Lights in the Dusk in Canada, is in fact a coolly ironic reference to Charlie Chaplin's City Lights. It is a devastating finale to Kaurismäki's "Loser Trilogy," which began with Drifting Clouds and continued with A Man without a Past. This may be the best of the three. Its mood of twilight doom is unforgettable.