Leningrad Cowboys Go America

Reminiscent of some of the best Eastern European comedies, this absurdist Finnish look at the foibles of both Communist and capitalist attempts at reality is not going to change your life, but it is an enjoyable way to spend 79 minutes. A rousing oompah band from a small Eastern European village travel to America to find their fortune. They all have hairdos like Buddy Holly on acid and wear the pointiest-toed shoes you've ever seen. In New York City they buy an old Cadillac and get a gig to play a wedding in Mexico. On the trip there they also travel through rock, blues, country, and mariachi, and meet people almost as strange as themselves. Most memorable moment: Igor, the village idiot, catching up to the band out in the middle of the Texas countryside, carrying a very large fish.

This is without question one of the greatest rock and roll movies ever made. It's sort of THE BLUES BROTHERS meets STROSZEK with some MOSCOW ON THE HUDSON thrown in. Aki Kaurismaki has to be admired for making this gutsy and crazy film. There is not much of the European "art film" here, nor is there any real serious social commentary or aesthetic stunts underneath the comedy here either. There is also no condescension toward America or Americans. In fact there is a wide-eyed, dreamy fondness for America, especially its messy landscapes that hug the interstates and its simple, likable working-classes (but definitely not its prick cops). Here we get to meet the immensely likable dreams, music and attire of the Leningrad Cowboys, the misunderstood, maligned, salt of the earth band that comes to America to live out its rock and roll dream. Personally, I simply admire the actors for driving around the American South wearing those fantastic mullet pompadour quiffs and pointy shoes. That takes guts.

Kaurismaki has a special fondness for characters with big dreams but little or misunderstood talent, who can scrape up just enough cash just get by. Here, as in his another of his great comedies, LA VIE DE BOHEME, there are some characters who are unambiguously untalented (in LENINGRAD COWBOYS: the singers; in LA VIE DE BOHEME: the composer) and there are some characters who have some or much, but quirky, or misunderstood talent (in LENINGRAD COWBOYS: the band; in LA VIE DE BOHEME: the painter). All of the performers and artists are immensely likable and amusing and their patrons and audience are just as suspect as they are in their taste, but great to be around nonetheless. Moreover, their detractors are cold, a-hole jerks.

Jim Jarmusch makes a funny cameo as a used car salesman. Matti Pellonpää, probably Kaurismaki's favorite actor, is hilarious as Vladimir, the band's beer slugging, tyrannical manager. I love the scene early in the film where he meets with the New York "cousin" of the Finnish talent scout (who also, by the way, has a "cousin" in Mexico). When the New York band booker tells Vladimir that he needs to hear the band play, Vladimir says, "Is that necessary?"

Anyone who loves rock and roll comedies, weird hairstyles and movies about little people with big dreams need to see this film. If you like Kaurismaki films then you may or may not like this film, depending on how square you are. I say check it out. I think it's one of the funniest films I've ever seen. But then again I have had some crazy hairstyles too.

Deep in the icy heart of the tundra reside a rock band known as the Leningrad Cowboys. With their long winklepickers and impossibly high quiffs, they resemble something that crawled out of a radioactive Berlin sewer in the 1980's- and sound like it too. Their style of rock is not appreciated in their native land, except by the village idiot, Igor; whom they shun. Striving for success, they fly to America- carting their frozen guitarist with them, who succumbed to the tundra's biting nighttime temperatures. Travelling across the land of opportunity, the band play honky-tonks and bars, nightclubs and weddings, tracked by Igor all the way. Will the Cowboys find fame and fortune, or will their ballad end in misery?

Written and directed by Aki Kaurismäki- and based on a story by Sakke Järvenpää, Kaurismäki and Mato Valtonen- 'Leningrad Cowboys Go America' is a musical-comedy-cum-road-movie as surreal as it is uproarious. Original and heart-warming, the film paints a whimsical portrait of life on the road as a stranger in a strange land as enthralling as Werner Herzog's 'Stroszek,' albeit less profound and more comedic. Kaurismäki's characters- especially the band manager Vladimir- are idiosyncratic fellows fond of beer and song, both of which they partake in frequently. Watching them on their odyssey is endlessly enjoyable, unexpected and entertaining.

One of the most striking features of Kaurismäki's film is the use of music as a form of expression and communication. The Cowboys play a variety of songs, from traditional Russian folk tunes to rock classics, adapting their style and instruments to suit the different audiences and venues they encounter. The music not only showcases their versatile talent, but also reveals their emotions, aspirations and struggles. When they play 'Born to Be Wild' at a biker bar, for instance, they are expressing their rebellious spirit and desire for freedom. Counter that with their playing 'Knockin' on Heaven's Door' at a funeral, which conveys their grief and hope for redemption. The music also serves as a bridge between cultures, as the band and the Americans they encounter bond over their shared appreciation of music, despite language and cultural differences.

Throughout 'Leningrad Cowboys Go America', composer Mauri Sumén's score works brilliantly, heightening the mood and atmosphere of each scene- whether comedic, dramatic or sentimental- whilst bolstering the ironic contrast between the band's musical style and the American landscape and culture they encounter. Just as eccentric as the Cowboys' appearance, Sumén's work is consummate and right in keeping with the film's quirky tone.

As is Timo Salminen's cinematography, which captures the band's journey with a simple, minimalist style, making great use of static shots, natural lighting and muted colours. A frequent collaborator of Kaurismäki's, Salminen also creates a visual contrast between the band's eccentric appearance and the ordinary surroundings they encounter, as well as one between the vast, barren landscapes of Siberia and America with the cramped interiors of the musical venues and vehicles. Striking and memorable, 'Leningrad Cowboys Go America' contains visuals that continuously impress.

As do the performances from the cast. Matti Pellonpää does particularly fine work as Vladimir the band manager, showcasing much depth of character and emotional perspicuity; making him feel real and multifaceted. Kari Väänänen also impresses as Igor and will surely have you laughing anytime he's on screen. As for the band themselves, whether performing musically or not, they're each and all odd and excellent. Furthermore, the cameo appearances by Richard Boes, Jim Jarmusch and Nicky Tesco are each commendable in their own way- with Tesco's being especially notable.

A strange, surreal musical comedy, Aki Kaurismäki's 'Leningrad Cowboys Go America' is a whole lot of fun from start to finish. Featuring great music and a strong narrative criss-crossing America- as well as stunning cinematography from Timo Salminen- the film plays a little like a funny, musical 'The Straight Story,' or indeed 'Stroszek'. Well-acted and deftly directed, 'Leningrad Cowboys Go America' is a ballad you'll want to hear again.

The most politically inclined and intellectual viewer would analyze this movie as a political satire, and they would be right. However, this movie is more enjoyable if seen as a road movie and a look at America through the eyes of a foreigner. Funny and poignant.

Siberian rock band Leningrad Cowboys go to the USA in pursuit of fame.

After the film was released, the fictional band transformed into a real band, complete with ludicrous hairstyles. This seems to be something that happens... if I am not mistaken, Spinal Tap also ended up touring following the popularity of their film.

American director Jim Jarmusch has a cameo as a car dealer. The film also includes cameos by blues guitarist Duke Robillard and American Rockabilly Hall of Famer, Colonel Robert Morris, with his wife Irene. I recognized Jarmusch instantly, and he seems like the sort of person who would show up in these films. I cannot imagine anyone else who was so supportive and synonymous with independent film in the 1980s.