Yö on pitkä

111 minutes, to be exact. And it is slow-moving as well - too slow-moving for its basically clichéd crime-doesn't-pay story. Also, the two male actors, especially the one who plays Ake, are at least a decade too old for the characters they are supposed to be portraying (youngsters who take their first steps at life). Other than that, the film is well-done in all technical respects, and even makes good use of some Helsinki locations near the end. It also tries to put a philosophical spin on its rather routine story, and it partly succeeds, although it is still pretty routine overall. ** out of 4.

Continuing to explore Nordic cinema of the 50's,I took a look at what 1953 Nordic titles I had in my download pile waiting to be played. From the few details I could find about this Noir, I became so curious that I got set for a long night.

Note:Some spoilers in review.

View on the film:

One of only two Junior-Film productions (the other was the fellow 1952 movie The White Reindeer) before they went bust, debut co-writer/(with Matti Kassila) director Aarne Tarkas (who died of heart failure at just 52 in 1976) & cinematographer Osmo Harkimo spread the mugshots of the trio across the screen as a fourth wall-breaking narration from a cop establishes that the night is long, filled with juvenile delinquency in a city which only offers Film Noir chances of getting a chance in life.

Climbing up towards the front window of the flat where Rita,Ake and Jussi are relaxing in time to the piano beat of Kalevi Hartti and Olli Hamalainen's score, director Tarkas & cinematographer Osmo Harkimo shimmer on a glittering atmosphere of Film Noir rebellion. Whilst some of the camera moves end in a awkward jolt, Tarkas rides over the rough with stylish low-hanging long panning shots towards the family Rita runs away from before she glides into the glamour of stage singing, circling on the sawn-off hand-held rush towards Ake and Jussi's final escape.

Sending waves across the screen to float into flashbacks,the screenplay by Kassila and Tarkas take the opening narration of the youth being left unable to get a footing in the city, and brilliantly reverberate this Film Noir frustration into Jussi and Ake's friendship,which crackles with fear that the only way they can cover their long-term embezzlement of cash from Ake's bank job,is by staging a robbery which will need Rita being pulled into joining.

Spending a good long night between the guys, alluring Mirja Karisto gives a excellent performance as Rita, who when singing at clubs in front of the rich is giving a glamour shine by Karisto, which she rubs in exchange for Femme Fatale anxiety over seeing Ake and Jussi's plans on a knife-edge. Noting down their hopes of getting rich under the table, Jussi Jurkka and Ake Lindman give fantastic turns as Jussi and Ake, thanks to the cool calmness Lindman holds Ake's in being cracked by the abrasive fear Jurkka shakes Jussi up with over a long night.