Le luci della sera

At the center of this film is a man named Koiskinen (Janne Hyytiainen). He is an isolated security guard and his story is one of cruel deception and eventual, utter downfall.

Though Koiskinen's slicked-back hairstyle wouldn't seem fashionable outside of a Forties gangster film, he's really not a bad-looking guy; he just isn't a leading man. But Koiskinen's outcast status is a given we can't question. He has a slightly hangdog quality. He has dreams of starting his own company, but this seems a laughable illusion; he is scorned even by his coworkers. He has no life. The uniform, cigarettes, the lockers, the cold nightly guard duty, a dreary flat. These are the boundaries of his existence.

In fact what's curiously enchanting about Kaurismäki: the analytical certainty of his downbeat riffs.

Quite inexplicably, Mirja (Maria Jarvenhelmi), a well-dressed, striking, enigmatic woman, almost albino in her blondness, picks Koiskinen up in a bar and begins dating him. How can he resist? Her motives, however, are none too good. In fact they are of the worst kind. She is the agent of a nefarious higher power. You might not think Finland had gangsters but this is Helsinki, and the wide shots of the dark city at night are luminous and powerful, underlined by haunting tango music -- not an arbitrary but an indigenous choice, because after Argentina, Finland is the first capital of the tango. The movie is drenched in romantic music -- Puccini, Manon Lescaut, Gardel's "Volver," and Finnish tangos. There is a sweep about it, but the sweep is ominous.

Koiskinen has no part of the city's power, except as its victim. He exists to be exploited -- and with rigor. It's sad, because no matter how bad things get, he goes on dreaming. But his life is a dream, and he is unaware of what's happening to him. Out of deference, Finns don't like to look you in the eye when they speak. Aila (Maria Heiskanen), the woman who cares about Koiskinen, who runs a refreshment stand in a vacant lot, he has little use for.

Kaurismäki's sequences of scenes are as bold and assured as they are ironic. This is a pessimistic, but curiously vibrant view of life. There was never a more willing dupe than Koiskinen. This film has the squirming life of a pool full of sharks devouring carp.

Laitakaupungin Valot, called Les lumières du faubourg or "suburban lights" in its French release and Lights in the Dusk in Canada, is in fact a coolly ironic reference to Charlie Chaplin's City Lights. It is a devastating finale to Kaurismäki's "Loser Trilogy," which began with Drifting Clouds and continued with A Man without a Past. This may be the best of the three. Its mood of twilight doom is unforgettable.

I saw this film at the Toronto International Film Festival. This is the third film in Kaurismäki's "Helsinki Trilogy" (the others are Drifting Clouds (1996) and The Man Without a Past (2002)) While I haven't seen the first, this film shares many thematic and formal elements with the second film, and I enjoyed it just as much.

Koistinen is a lonely security guard who is ignored by his co-workers; that is, when he's not being teased by them. His life is soon turned upside down by a femme fatale, with heartbreaking results. Despite the grim-sounding plot, the film is full of the director's trademark deadpan humour. And I'm in awe of how he can make the film just radiate love despite the mannered acting and awkward staging. Perhaps it has to do with the warmth of the lighting and the colour palette, as well as the use of nostalgic music and art direction. Whatever it is, from the first frame, you know the director loves this sad sack and wants us to love him too.

The films of the Helsinki Trilogy all deal with people on the margins, and it's clear that Kaurismäki's sympathies lie with the common people and not with those whose success or power has dehumanized them. He is a true humanist, and his "heroes" all bear their sufferings stoically; in fact, they quite literally personify a "never-say-die" attitude, and that makes them admirable. Their hangdog expressions may make us pity them, but it's their core of inner strength that makes us love them.

Aki Kaurismaki has an instinctive knack of laying down a story. He also presents the interest of being on the margins of life in a marginal country. Think of "Hamlet Goes Business". But in "Lights in the Dusk", Kaurismaki goes Kafka. He leans toward the fable, a genre hard to make into a decent movie. This one follows an honest loser to disaster. The character only manages to crawl out of the pit at the last minute by finally accepting partnership with another, more cautious loser. Visually splendid the film shows us Helsinki in all its modern, hard-edged, hostility, and together with the acting has a flawless unity of style. A.K.'s quirky humor is much less in evidence than usual though you might call a joke the fact that the loser's life in jail is roughly like his existence before he goes inside and after he comes out. Indeed the only time we see him socially at ease and smiling is in the prison yard when spring comes to Helsinki.

I love foreign films. Maybe its because they aren't spoiled with the propaganda and commercialization prevalent in Hollywood films. This little jewel has made a place as one of my favorites. I discovered it on the Sundance Channel one day in August but I didn't watch it all. Even then I realized it would be best to watch it in colder weather to match the climate on the film. I only watch Dr. Zhivago in January or February. This film is wonderfully minimalistic. It doesn't tax your brain but is never boring due to the absorbing cinematography. Also, I love films that have a lot of quiet passages and this one does not disappoint. Thank God for movies like this. They cleanse the palate of inferior Hollywood drivel.

Compared to normal Hollywood movies I still enjoy Kaurismäki's films, but this is definitely not one of his best ones.

One of the biggest problems of this film is the director's attitude towards his main character. Koistinen's situation is getting worse with every action he takes. That's not the problem, but Kaurismäki doesn't offer a minimum of possible explanations to Koistinen's behaviour.

I don't expect a complete interpretation of his work by a director or by an author, but as a viewer of a film or as a reader of a book you need at least some information to start at. So I can only imagine that the reasons for Koistinen's behaviour lie in his state of mind and/or in his past.

But this is criticism at a high level. There are still some typical Kaurismäki-scenes in this film which I like a lot.