Mies vailla menneisyyttä

Herzog introduced me to the tension created by moving back and forth from highly styled scenes to realistic ones in syncopated steps. It has an extraordinary effect; I do not know who first devised this technique, but it matters.

Sometimes, you will see it adding value on the real side. Rarely is it ever used this way, to multiply anchor a minimalist sketch of fate. Jarmusch does this, perhaps being the master, but this is pretty clean, novel and effective as well. Its because Fins are inherently minimalist in a particularly overt way. Stylized in a stylized way, perhaps to stand above its neighbors who value cleanliness but only after passing through terminal sophistication.

There is a sweet purity to this man we see, and the man we do not who made the thing. There is an honor in just getting up in the morning. The people here are either honest and generous — even the local cop who exploits the poor — or crippled participants in the machine. Everyone with a conventional job is in this latter class.

Just as with most Jarmusch, music and the enrichment it brings, is woven into the story as an intrinsic element. The music itself is highly stylized, and like the film is an abstraction of deep, rich emotion. It is played here by a Slavation Army band our hero brings to musical salvation. The love story matters I think, because it depends on nothing other than simple need and directness.

Ted's Evaluation -- 3 of 3: Worth watching.

This film is about as fast paced as Finnish films get, I guess. Don't look for a lot of facial expressions and a lot of overt body language because you ain't gonna get it. The film moves slowly like a Saami joiking in the sauna but it wonderful to behold with each deliberate step it takes. The characters may seem a little stiff to those of us unfamiliar with the inscrutable Finns but the great Finnish reserve which overlays the story line is tweaking at our whiskers at every shuffle forward in the story. It is really amazing that we have not seen other Finnish works before. This kind of off-the-wall story which has a wonderful basis of humanity underneath the more real than life characters clustered around a site with little or no conveniences of modern living in their sea container households. The odyssey of M who wanders through his voyage in search of himself only to be reconciled not with his long suffering and long awaiting Penelope but with a frustrated but good-hearted Major Barbara.

There are lots of puns visual and otherwise with the threads of incompetent cops, doctors, nurses, employment office workers interwoven with a comical wannabe bad-guy overseer, a rock'n roll Salvation Army band, a torch-songstress SA Major and the philosophical hero who honestly can't remember.

Check this one out without fail. It's pure fun...but just don't expect it run along at breakneck speed ala Hollywood...!

I've watched this twice now, and throughly enjoyed both viewings, finding this film to really be a unique one. It's a Finnish film, which is unusual to start with, at least here in the U.S. because we don't see too many films from Finland. It's a black comedy, meaning deadpan looks with subtle comedic lines. In English, it's titled "The Man Without A Past."

The main actor, Markuu Peltola, is perfect for this movie with one of the most deadpan faces you'll ever see. He is amazing to watch and Kati Outinen, as his love interest, is similarly strange and fascinating. Part of their charm are their unusual looks. This is not a romance between people who look like your normal handsome film stars.

Simply, this is just something very different from anything you've seen, a combination of drama, comedy and romance with some of the strangest dialog I've ever heard on film. If you appreciate dry humor and a bizarre but touching story, you should see this.

MAN WITHOUT A PAST, THE (Aki Kaurismäki - Finland/France/Germany 2002).

This second installment in Aki Kaurismaki's projected "Finland Trilogy" is a heart-warming fable about a man (Markku Peltola) who loses everything, including his identity. After M, as he is referred to for the rest of the film, dozes off on a park bench, he is awoken by a trio of thugs who brutally beat him up, steal his money and toss his wallet and identity papers into the trash bin. In the hospital, he is pronounced dead by the doctors, but by some miracle he springs back to life but with no memory whatsoever of his past or his identity. Now a penniless amnesiac, he has to build his life from scratch. Without knowing a single person (and without a single person knowing him), he must try to survive, but he soon acquires a melancholy dog named Hannibal and falls in love with Irma, a lonely salvation army soup kitchen volunteer. Of course, his past does catch up with him, but it only works to point out what's really important in his future life.

Kaurismäki usually champions the outcasts of society and here it's no different. He once said: "I make films for the unemployed, but since they don't have money to buy cinema tickets I generally have no audience." Of course, Kaurismäki has a huge audience by now, but no matter how simple and accessible the story in the film might look, he still manages to blend romance, quirky comedy and social commentary, seemingly effortless into the film's narrative.

Most of the humor doesn't come from any written gags or jokes but springs from the absurdity of the situations, all in Kaurismäki's typical deadpan-comedy style, complete with nods top '50s B-movies, rock'n'roll ("rhytm music", as it's called by M), fairytale romance and an incomparable soundtrack, featuring British beat combo, The Renegades. I just love the music in this film! Time and place hover between Helsinki in the '30s and the present. Despite the idiosyncratic set-up and the strange unreal dialog, it's incredible how very real all these characters feel. Deep sentiment but every inch of it sincere. I can't get enough of this film, no matter how often I've seen it.

Camera Obscura --- 9/10

This is the first Aki Kaurismaki film that I have seen and it is the second film in a trilogy. I definitely want to see the first one now and I plan on seeing the third whenever it comes to my neck of the woods. Film is a very simple story of a man (Markku Peltola) who while waiting for a train goes to a park and falls asleep on a park bench. Three thugs come along and beat and rob him. He is so beaten that when he wakes up in a hospital he has amnesia. We never do find out his name! He leaves the hospital and has no where to go. A very poor family living in a metal container take him in and try to help him. He goes to the Salvation Army for free food and an opportunity to work small jobs and its there that he meets Irma (Kati Outinen) and is attracted to her. The film follows this man as he romances Irma and works odd jobs. Its all presented in a very dry and droll comedic fashion. All the characters are very emotionless no matter what the circumstances are and in some ways its reminiscent of the films that Jacques Tati use to make. In one scene in a bank a robber enters and shoots a broken security camera and the teller and our protagonist all act very calm and very polite. At the heart of this film is even though the characters are very quiet they are very helpful of one another and seem to care for each other. I have heard that all of Kaurismaki films are like this and its been nicknamed "Aki's world". Kaurismaki is a very unique filmmaker and the way he presents his characters is in contrast to the bleak area that they live in. Even though the film and the characters are laid back in their attitude, the romance between the man and Irma shouts of passion. Their affection and fondness for one another doesn't need words. It rings loud and clear!