Attenta al foulard, Tatjana

The Finnish infant terrible returns to the monochromatic rock'n'roll vibes of his earlier CALAMARI UNION, only this time he substitutes the avant-garde surrealism with the silent, deadpan minimalism he meticulously cultivated for most of his career. Two thirty-something rockers working menial jobs and leading dead-end lives embark on an impromptu journey in their cool car, along with a coffee-car mixer and a portable record player. Along the way they meet two Russian women who are looking for a lift.

TATJANA is part road movie, part romance, both done in Kaurismaki's distinct, ever so enjoyable and relaxed, quiet way. The black and white cinematography is absolutely fantastic, the soundtrack as usually an eclectic mix of rock'n'roll, jazz and folk and the mood of the same deadpan unaffection that permeates the rest of his work. His characters cold and detached on the outside, yet they miraculously emote better than the best overacting could afford you.

Clocking at only 59 minutes, TATJANA doesn't so much feel as a fully-fledged movie as a broad stroke. Seen independent it's one thing; seen as part of Kaurismaki's broader universe, like another vignette of gloomy but not miserable Finnish life, it takes its proper place. See it in a double-bill with CALAMARI UNION or ARIEL.

Although Finnish film 'Take Care of Your Scarf, Tatiana' is a short film but the manner in which it has been directed by Aki Kaurismaki, it can be stated that it beats many a feature film both in content as well as style. This has a lot to do with its exclusive focus on some unusual male-female relationships which have been shown to be successful even in the absence of a common idiom. Alcohol and Coffee play an important role in Aki Kaurismaki's films and this film is a perfect example of the extent to which people would go in order to get hold of these beverages. For a road movie shot in black and white, this Aki Kaurismaki film has challenging roles for Finnish actors Matti Pellonpää and Kati Outinen. It is with utmost sincerity that they demonstrate that language is not a barrier for two people to communicate their feelings as gestures can also be used to express feelings of mutual appreciation.

A very typical Kaurismaki film, very short (only an hour long) and in black and white. At first it seemed a bit slight to me, but as it neared the end it kind of clicked for me and I found it quite touching. Matti Pellonpää and Mato Valtonen star as two Finnish losers who meet up with a couple of female tourists from Estonia and Russia (Kirsi Tykkyläinen and Kati Outinen). Their bus has broken down, and they ask if the men would be willing to escort them to their ferry, which departs from the coast in a couple of days. The two women are clearly interested in romance, but the two men are alternately too thick-skulled and too shy to do anything about it. Man, Outinen is a fantastic actress. There's not much dialogue in the film, but she expresses so much with her face. Pellonpää and Valtonen aren't far behind her (no offense to Tykkyläinen, who is fine).

Caught this on Moviedrome a couple of years back and watched it again recently. Kaurismäki's direction is ahem, directionless and very minimal. The two males are boorish; the two Russian girls more expressive and fun-loving. Coffee and vodka are two addictions 'suffered' by Tatjana and Valto.

There is love of sorts found at the end for Tatjana and Reino. Whether or not this savage plot twist will surprise us viewers or not matters little. Beautiful and bleak with a fantastic soundtrack, "Take Care..." is a film that says absolutely nothing but does so with style.

5/10

I have not seen a film like this one ever. While it doesn't stand out, Kaurismaeki's impressive tact kept my heart and funnybone peaked and suspended for the duration of the film with his classic understated, wry charm. Surf rock has, incidentally, never looked so good on a rocky northern coast.

To say the least, the film piqued an interest in Kaurismaeki that has led to my heart-melting and guffawing appreciation of others like the matchstick factory girl and (although to a bit lesser extent) The Man Without a Past.

While I could drop 50-cent movie reviews, chiches, and plot synopses here, I'll get to the point instead: Kaurismaki is intelligent, and seems to have no need for pretense. He has digested American images and music, and given us his own irresistible story of Finland in this dynamic. His aesthetic tact, pacing, use of light, and soundtracking are all par excellence.

This film is his best, in my opinion, and I hold him next to Julio Medem as the winner of this century's title for the most consistently gorgeous film-making.