Jadesoturi

We haven't seen any attempts to combine Kalevala, the old stories, gods, myth, etc with any other culture or epic before. This film deserves a high rating score for being bold enough to try and manage it quite well indeed. A different kind of movie, feels and tastes fresh, contains enough little oddities and elements to be of cult stuff. I hope somebody will take it from here: develop the excellent old stories even further into something equally fresh. Same thing could be done with the equally rich stories of Aesir and the norsk gods etc. Along the lines of Neil Gaima's "American gods" and other such brilliant works.

I watched this movie on DVD just the other day, and wow what a movie. This is certainly the best film I have seen out of Finland. The martial arts scenes are great, the story is great. I watched it without subtitles in the original version, it is way over the top. If you can find it, get it, it is well worth it. Being a first time director, this guy has done the most amazing job. He has taken all sorts of talent and blended them into a seamless film. The composition of the filming is incredible, as well as the use of a very detailed story. When it is purchased by a major studio I hope they do not edit it from it's original form, because itg is perfect.

I heard about this movie over a year before its release, and followed the progress of the project with mild curiosity throughout the production. When it finally premiered, I expected to see a campy martial arts film with tongue-in-cheek action sequences, and a feeble plot. What I got was the opposite; the movie turned out to be much less of a Kung Fu film than it was cracked up to be, but I was pleasantly surprised with the plot and the character development. Thus, I left the theatre with mixed feelings, though my general opinion of the movie was more on the positive side.

The first third of the film is rather... odd. It opens with a stunning scene set in ancient Finland, but when the story shifts into modern times, it temporarily loses its touch. The plot is dragging, and characters are introduced in a way that leaves the viewer confused about who they are, what they want, and what has happened to them prior to point where the story picks up with them. I suppose it's the director's fault that half of the time everything the characters do feels irrational and pointless. However, when the plot line set in ancient China kicks off, the quality of the movie immediately improves. The parallel stories support each other, the main character gets more depth, and the pace of the story becomes steadier. By the end of the movie, the two plot lines have neatly entwined into a coherent whole, providing the story a beautiful finale in perfect contrast to the messy beginning. In the end, the plot manages to even out its flaws, though only scarcely.

What I particularly liked about Jadesoturi was the delightfully original plot. Generally speaking, the plots of Kung Fu movies aren't exactly epitomes of originality and great character development, and I expected that the makers of the first and only Finnish Kung Fu movie ever wouldn't even need to bother themselves with a proper script as long as the action scenes work. That's why I was surprised that not only did Jadesoturi manage to tell a tremendously humane story about a man's fear and desperation when facing the inevitable, it also provided believable character development and an unexpected twist ending. And all free of the typical Hollywood clichés! The hero isn't your average sword-shielding action god, but a lonely, insecure man with a painful desire to love and be loved, who consciously disregards the greater good in order to pursue personal happiness. Even his name is an apt pun - Kai meaning "perhaps", and the 'pelko' part of his surname Pelkonen meaning "fear". His inner conflict is the heart of the movie, and the one thing that sets this movie apart from all the rest.

In addition to the good plot, the movie contains lots of beautiful imagery, like the shots of Kai's rundown workshop, and the secluded Chinese village. The action sequences are quite stunning, though more artistic than realistic. I also liked most of the actors. These are the reasons why I personally enjoyed the film enough to be able to forgive the movie for its flaws - such as the weak beginning, the pointless subplot including Ronja and Berg's co-worker, and the Worst Evil Scheme Thought Up By A Villain Ever (seriously, am I the only one why is still confused about what the demon was trying to achieve with his cunning plan in the first place?). Jadesoturi has also been criticized for the lack of Kung Fu scenes, which are limited to the minimum. I personally think the problem isn't the lack of martial arts itself, but the fact that it was marketed as a Kung Fu movie even though the emphasis was on the drama, not on the action. It's more of a fantasy/drama film with Kung Fu elements, rather than the reverse.

My opinion? Jadesoturi is an interesting movie, but not an outstanding one. It has plenty of flaws, but also an original story to tell.

There is an old Soviet joke where the punch line is that all is quiet on the Finnish-Chinese border. That is where, psychologically at least, this film is set. It is a pioneering Finnish- Estonian-Chinese co-production, which takes the Finnish national epic, the Kalevala, as its starting point.

It was clearly made on a limited budget, without much provision for travel. The result is that, in effect, we have two films with parallel plots and casts, one set in ancient China and one in a sort of modern Finland, where most of the action is divided between a junk shop, a museum and a subterranean forge. Only Tommi Eronen, who plays both protagonists, Kai and Sintai, appears in both parts. The dialogue is split roughly 50:50 between Finnish and Chinese. In style it is much more Asian than Finno-Ugric - swords-and-sorcery with mysterious sacred items, along with the aerial acrobatics and severed heads that have long characterised Asian martial arts flicks.

I found it intriguing rather than gripping or exciting, and had to work quite hard at times to follow it. Some of the symbolism was mystifying. Why was a yellow plastic duck floating in a barrel in the forge? What is the significance of the fly on the face of a dumb, or at least silent middle-aged woman? Still, trying to work out what is happening brings pleasures of its own. And much about the film deserves praise – the acting is generally good, the special effects work, and the costumes and settings looked good, though without a real wow factor. The musical score fitted the film until the very end, when an English-language rock theme tune rapidly dispelled illusions which had taken nearly two hours to build.

Six out of ten.

I am a big fan of kung fu movies. This is not so much of a kung fu movie, although the action scenes are very fluent and clear. You often see much worse scenes in actual Asian kung fu action films. Sometimes the action is too fast, too sloppy and edited like crap. Not here. The fights are used sparsely and with good taste. The comment posted by wujie is off considering the choreography in comparison. And I'm finding it hard to believe the comments about this film, because the name suggests he/she is Asian origin. If you've seen 10 Asian kung fu flicks, you've most likely seen 5 films with worse action than here. The plot is good. Acting is good. Occasionally you might be a little confused about the progression though. But overall it binds you to your seat for the duration. I guess you can call this an epic drama spiced with occasional action scenes. In Finnish standards this film rocks. And even if you're not a Finn you will most probably be happy with the experience after watching this. Of course the differencies with cultures may be an issue. But to European and American taste this is definitely worth watching. And compared to Asian cinema I find this more "normal", if you'll allow me to say this without being offended. Asian cinema often has weird characters that are strangely eccentric and odd. Here I found the characters to be human, normal, not perfect (wujie comments on this being a bad thing). So along the good fight scenes, which are meant at times to be like dancing to represent other issues than mere fighting (again wujie commented on this subject), there is content to keep you interested in the plot all the way until the end. If you read this comment, read also the comment from Asian perspective (wujie) and then make up your mind.