Lichter der Vorstadt

Aki Kaurismaki has an instinctive knack of laying down a story. He also presents the interest of being on the margins of life in a marginal country. Think of "Hamlet Goes Business". But in "Lights in the Dusk", Kaurismaki goes Kafka. He leans toward the fable, a genre hard to make into a decent movie. This one follows an honest loser to disaster. The character only manages to crawl out of the pit at the last minute by finally accepting partnership with another, more cautious loser. Visually splendid the film shows us Helsinki in all its modern, hard-edged, hostility, and together with the acting has a flawless unity of style. A.K.'s quirky humor is much less in evidence than usual though you might call a joke the fact that the loser's life in jail is roughly like his existence before he goes inside and after he comes out. Indeed the only time we see him socially at ease and smiling is in the prison yard when spring comes to Helsinki.

Lights in the Dusk is another in the series of movies about Finnish life that contain the same elements; deadpan dialog, subtle humor, stubborn protagonists, semi-happy endings. If you're into this style of film, you'll really like it. However, it's an acquired taste, not for everyone.

Our anti-hero is a security guard, caught up in a criminal plot, ultimately taken advantage of by a beautiful femme fatale but redeemed by the love of a good woman. That sounds like a simple plot, but as seen in the movie it's anything but simple.

I've seen references to a trilogy, mentioning this film along with Man Without A Past and Drifting Clouds. That seems to ignore Match Factory Girl, which fits right in with the rest. I've seen most of Kaurismaki's work and liked everything, I really groove to the retro style, the deadpan acting, the plots which seem simple but are in fact very complicated.

If you like Kaurismaki, or are in the mood for something different, check it out. At the very least you'll remember it and think about it.

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.

I saw this film at the Toronto International Film Festival. This is the third film in Kaurismäki's "Helsinki Trilogy" (the others are Drifting Clouds (1996) and The Man Without a Past (2002)) While I haven't seen the first, this film shares many thematic and formal elements with the second film, and I enjoyed it just as much.

Koistinen is a lonely security guard who is ignored by his co-workers; that is, when he's not being teased by them. His life is soon turned upside down by a femme fatale, with heartbreaking results. Despite the grim-sounding plot, the film is full of the director's trademark deadpan humour. And I'm in awe of how he can make the film just radiate love despite the mannered acting and awkward staging. Perhaps it has to do with the warmth of the lighting and the colour palette, as well as the use of nostalgic music and art direction. Whatever it is, from the first frame, you know the director loves this sad sack and wants us to love him too.

The films of the Helsinki Trilogy all deal with people on the margins, and it's clear that Kaurismäki's sympathies lie with the common people and not with those whose success or power has dehumanized them. He is a true humanist, and his "heroes" all bear their sufferings stoically; in fact, they quite literally personify a "never-say-die" attitude, and that makes them admirable. Their hangdog expressions may make us pity them, but it's their core of inner strength that makes us love them.

I love foreign films. Maybe its because they aren't spoiled with the propaganda and commercialization prevalent in Hollywood films. This little jewel has made a place as one of my favorites. I discovered it on the Sundance Channel one day in August but I didn't watch it all. Even then I realized it would be best to watch it in colder weather to match the climate on the film. I only watch Dr. Zhivago in January or February. This film is wonderfully minimalistic. It doesn't tax your brain but is never boring due to the absorbing cinematography. Also, I love films that have a lot of quiet passages and this one does not disappoint. Thank God for movies like this. They cleanse the palate of inferior Hollywood drivel.