La fille aux allumettes

A riveting early masterpiece by Aki Kaurismaki. Kati Outinen is extraordinary as Iris, the long-faced factory worker of the title, who lives with her truly appalling parents in (probably) Helsinki. She cooks the meals and does all the housework, while they completely ignore her, preferring to watch TV and drink. Iris buys a dress and goes to a party - everybody ignores her there as well, and her scandalised mother forces her to take the dress back to the shop. A middle-class man picks her up in a bar and sleeps with her, and then leaves the next morning. She informs him that she's pregnant; he sends her a cheque and a note saying "Get rid of it." She quietly and inexorably starts to revenge herself on the world.

There's not much dialogue, but you don't need it; the camera stays on Outinen's mesmerisingly gloomy face. Iris is possibly the least glamorous heroine in movie history, but without apparently doing anything, Outinen shows all of Iris' hope, despair and the consciousness that it's going to get worse before it gets better. A great movie; since Fassbinder's death, they don't make many like these anymore.

Yesterday I watched this film straight after Kaurismaki's film of the same year 'I Hired a Contract Killer', and this struck me as a far superior film, possibly because I'd prefer to see drab Finnish locations than (the usual) drab British locations and maybe also because of the annoying poor acting from Jean-Pierre Leaud's female co-star (my Finnish friend asked me why the women sounded like a 'learn the English language' tape). Overall the film seemed to be a generally better piece of cinema than 'Contract Killer'.'The Match Factory Girl' is a continuation of Kaurismaki's trade-mark minimal style (and also content)in which a young (match-factory working) girl leads a depressingly sad life in which she is used and abused by everyone around. Kaurismaki's films (to me at least) can be described as deadpan Bergman in silence, and yesterday i heard that Aki grew up with autism, this is partly the reason of the lack of communication between characters and also the low amount of dialogue. The film is not as depressing as sounds though, and is lifted by Kaurismaki's use of deadpan humour. For any Kaurismaki (add to this Jarmusch and Kitano)fan, this film will not disappoint, although it is pretty difficult to track down.

Matches here are a metaphor for undistinguished short lives, and work well to propel Aki Kaurismaki's sere, reductionist story. He clearly works well with lead actress Kati Outinen, and the predictability of the tale is deliberate so as to force the viewer to confront the unsaturated colors, the paint that needs re-doing, the absence of empathy, the rarity of anything in the lead character's life to cling to or believe in. While themes, aesthetics and behaviors on display here are characteristically Nordic, Kaurismaki's manner, set-ups, and potent understatement are his alone and in top-shelf form. One wants a larger oeuvre from him.

Kaurismaki is nothing if not an efficient director. The stylistic elements of 'The Match Factory Girl' are distilled, like the vodka that is drunk throughout, to produce an intense and disturbing effect. Much of the action goes on outside the characteristically static camera frame, and Kati Outinen's deadpan face conveys a correspondingly broad range of expressions (she is excellent at signalling imminent vomiting without appearing to twitch a muscle). It's a film that moves on and out with the minimum of movement and dialogue, and its downwards pull is mesmerising. It's also bitterly funny. Late in the film the main character, Iris, approaches the shop counter and asks for a bottle of rat poison, to which the reply is: 'Small or large?'

I was fairly low when I saw this film. I came out feeling marvellous. Another triumph for the relief to be found in misery, a paradox which Kaurismaki cheerfully exploits in his dark, tragic & hilarious films.

This is a downbeat story of a young woman, Iris, who works on an assembly line in a match stick factory in Finland. Iris' life would give testament to the truth of Thoreau's quote, "The mass of men lead lives of quiet desperation." She comes home from her tedious job to a dismal apartment that she shares with her mother and stepfather--both major losers. They take what little money Iris earns and berate her if she spends on herself.

While Iris is not unattractive, she presents such a sullen and drab appearance that she is ignored at community dances, until she buys a new red dress when she finally attracts the attention of a man. But don't plan on a happy ending to that one. Years of suppressed resentment can provoke dramatic acts of revenge.

At a little over an hour this movie could have played as an episode on "Alfred Hitchcock Presents." Except it has better production values and acting that most shows on that program. I thought the humorous twist in the final scene was particularly in the style of Hitchcock.

I enjoyed the establishing shots in the match factory. I have never given much thought about the process of creating match sticks and found the presentation of that interesting. So much complexity and machinery involved in producing such a simple product.