Lettres au Père Jacob

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-

If you want to see cinematographic art, see this movie. I won't tell the plot. This is something you can find on other sites. The movie is moving and deeply thoughtful while being light and entertaining. A reflection on today's world without being schoolmarmish. It is comparable to Whale Rider in the storytelling. And it is beautifully photographed as well. There are scenes where just the movement of the birch tree leaves by the wind are shown and they themselves tell a story. A must see. I hope it will be shown in many countries. I have seen it at the Vancouver International Film Festival. It didn't win, unfortunately. Well done Finland. I hope to see more from this director and crew.

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.

first word - touching. but it is only a small suggestion. in fact, it is a kind of poem. puzzle of precise art to give to each piece not only importance but soul. it is beautiful but not the beauty is important. Kaarina Hazard, who remembers by Restituta Kafka, in an extraordinary role, mixture of force and storm of feelings, Heikki Nousiainen as priest who gives the light of Orthodoxy - delicate scene in church - in skin of Protestantism, Jukka Keinonen as postman - fragile, naive, full of fear. and the letters as axis of story. it is a gem. or an ice castle because, for director and viewer, the risk is same - to fall. but the gift is the subtle joy. that is basis for my invitation to see it. because it has potential of experience. because, like each good movie, it is a window - mirror. and because the faith has strange power to change a life.