Postia pappi Jaakobille

Careful, finely-honed directing by Klaus Härö features wonderful performances by Heikki Nousiainen and Kaarina Hazard. Brilliant casting. Small, tiny, luminous inventions are everywhere; nothing is heavy-handed. The story, first written by Jaana Makkonen, is austere, moving; the film ends just where it needs to in order for the story resonate. In any other person's hands besides Härö's, the result could have been disastrous. Why? Because the story does not appear to be overtly exceptional; and the visuals of the film need to be composed with the actors in natural, country surroundings and among existing buildings and a church. Härö, a cinematic poet, transmutes the physical materials he has on hand into gold. See this film if you dislike badly made movies and yearn for outstanding quality.

As far as Finnish drama goes, this is pretty typical, though it has a visual style that's far more cultivated and deliberate than is normal. The film is full of details and carefully thought out use of lighting and sound. Atmospherically this is a very nice film and I managed to fully immerse myself into the world of it.

So what went wrong? In short, the story, which should have been a bit longer. The basic idea is nothing special. A prisoner has served her time and is thus released on the condition that she goes to serve an elderly priest that needs her help answering his mail. Okay, so this is spiritual guest about finding the lost soul of this poor woman, I thought. And unfortunately that's pretty much all it is. And don't get me wrong, that alone could have made for a great film, if handled correctly. But it seemed almost as if the film makers were in a hurry to finish the story before it had had the proper time to unfold. You get the proper three act structure, but nothing more. I didn't feel like I had enough time to get to know these characters. We got the introductory scenes where their basic characteristics were established and almost immediately after that the film just ends. We get the emotionally cathartic ending alright, but it means nothing if we haven't managed to identify with these characters and we cannot do that if we are not given the time to do so.

So yeah, the movie could have used a few extra scenes. Not too many, mind you, but at least a few. Now the mood feels like a whiplash, going from one end of the spectrum to another with almost no scenes in between. There is one or two, but I could have used a third or fourth.

Aside from that major gripe, the film is rock solid. Both of the main actors are really talented and Father Jaakob (Heikki Nousiainen) especially just oozes the elderly charisma of someone who has seen it all and come out on the other side as a better man. Furthermore, the scenery is good, the dialogues are interesting and the whole premise has promise. It's just that I'm far more used to movies that take their time to tell the story so for me this felt more than little jarring. Perhaps it's just perfect for someone who has had a bit more experience with Finnish films, which are generally shorter than most Hollywood productions.

I've seen lots and lots of Finnish movies, but this was the best one of them. It went straight to my top 10 movies. It lasts only a little over an hour, but still I think it's the most important film Finnish have done. I loved everything in this clip, and I think you will too, at least the ones who like to watch art movies. I ain't going to tell about the movies plot, 'cause all of you should definitely see this great piece of art. I want to thank the idealist behind all of this, Jaana Makkonen, and also the scriptwriter, Klaus Härö. You've both done something that is going to be part of our culture, and a way of understanding all over the world.

This superlative film from Finland shows, better than most, how to tell a story with few words. The director, Klaus Haro, definitely shows the same skill with visual story-telling as that consummate master, Nuri Bilge Ceylan, famous most recently for Once Upon a Time in Anatolia (2011).

The plot is simple: a youngish woman, Leila (Kaarina Hazard) is released from a life sentence in prison to take up a job as a personal assistant to a blind priest, Pastor Jacob (Heikki Nousiainen) out in the boondocks. Leila settles in, reading the pastor's letters from supplicants and writing necessary replies. Leila is not happy though; she resists Jacob's attempts at friendship; she avoids helping in other matters; she remains aloof, uncaring, unsatisfied. Until, one day, she notices that the postman fails to bring more letters for Jacob, and Leila discovers that things are never quite what they seem to be.

The underlying story is complex, lyrical, philosophical, and ultimately heart-warming without being sentimental. The acting is simply perfect for the context: Kaarina Hazard, with a large bone structure, deep frowning face and brusque manner is every bit the ex-con and depressive personality – but why was she serving a life sentence? Why was she released? And why was she sent to the pastor, of all places?

As the pastor, Heikki Nousiainen, is equally adept at portraying a gentle sage near life's end, supremely faithful to his god, forever upbeat and friendly, always with a gentle word for all, even for those who despise him, as Leila seems to do, at first. Dialog is sparse. Often, all that is needed is a quick look, a glance, a sigh, a slight groan of disquiet, as the two get to know each other and while the days meld into a seamless, almost timeless stasis with the gorgeous Finnish forests. Some comic relief is provided by the wary attitude of the postman towards Leila, as he brings the letters for Pastor Jacob.

The sound track – mostly piano – is muted and fits the overall mood. We see the wind in the forest, and hear the river water. But, more than that, we hear the silence, particularly when the two sit, contemplating each other and their inner selves. The rain falls, the water drips through the ceiling into pots or buckets, and life must go on. Even for the Leila's of the world...

It's a credit to the script writer and director that I was never squirming in my seat eager for something to happen. In fact, that never impinged upon my involvement with the unfolding story: so that's perfect pacing for me. My only criticism, though, is that story lacks true believability: it's possible, yes, but highly improbable in real life.

No story is ever perfect, however. This one, though, comes close by promising nothing up front; and then, with a denouement that arrives like a meteor, it rips away any comfortable sang-froid to show us that, if you're prepared to dig deep within, you will indeed find promises to keep.

Highly recommended for all adults, young and old. Eight out of ten for this effort, no question.

February 28, 2013

Very simple story, Leila (Hazard) gets pardoned from jail and gets a simple job and a roof over her head by working for the blind Father Jaakob (Nousiainen). The job is very simple. All she has to do is take care of him which isn't much and help him with his favorite past time which is read and write letters that come to him.

Quickly you learn to love father Jaakob and understand he is just as human as everyone else is. Right off the bat we understand that there is some type of anger stored inside of Leila's head while we also wonder how she made it to jail in the first place. She also seems to neglect every time Jaakob offers some words of wisdom.

The only other supporting character that we see throughout the 75 minute film is the postman (Keinonen). He has seemed to of developed a close relationship with father Jaakob over the years and loves seeing Jaakob's face light up when he delivers the mail. Of course Leila doesn't seem to be to happy with the man on the bike.

It's a simple film. It is much like the simpleness of The Bycycle Thief as of both movies will keep you intrigued throughout the whole film.

Very enjoyable. My rating 8.5/10 or A-