Les lumières du faubourg

When you find a formula that works, you often stick to it even to the point of spinning your wheels until you become something of either an establishment or a cliché. Director Aki Kaurismaki may do well to bare this in mind before embarking on his next languid look at sad-faced Finns moving in somnambulistic circles through the streets of Helsinki.

Perhaps considering JUHA and MAN WITHOUT A PAST too fast-paced, Kaurismaki slows down the action in LIGHTS IN THE DARK to a snail's pace.

Despite making me wonder if Kaurismaki is playing it safe by recycling the same ideas, his films are often like comfort food and it would take a lot to make me sick of macaroni and cheese. Rather than keeping on the safe ground, Kaurismaki could follow in the footsteps of his friend and fellow minimalist auteur Jim Jarmusch and make Finnish equivalents of GHOST DOG or DEAD MAN. On second thought, keep with what you're doing, Aki.

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.

I saw this film as part of the London Film Festival and would recommend it simply on the basis that it held my interest from start to finish after a very long day at work. The only other movies I saw which managed this feat were Taxidermia and Big Bang Love, both extraordinary films in their own individualistic ways.

Kaurismaki inspires a certain hangdog cynical joi de vivre and leaves his audience to extract the humour based on their own mistakes/prejudices. So is it a great film? Not particularly, but it's a very clever piece that drags you into a vortex of depression and loneliness, and almost forgets to return to the surface. The acting is relentlessly downbeat, the script a tour de force of clumsy unspoken angst, and the whole is a beautifully tongue-in-cheek lesson in the art of 21st century minimalist expressionism. Personally, I find Kaurismaki's comedy blooming in the banal stupidity which informs the painful learning process of his clumsy but lovable characters. No assumptions of sophistication, only aspiration to a meagre level of happiness. Just like 90% of the world's population. Compassionate humanism and world-weary cynicism are constant bedfellows in the Kaurismaki canon. Who would want it any other way? Cigarette?