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||IMDB Rating: 7.7/10 from 12 votes
||Release: 25 September 2003 (Netherlands) /
||Genre: Comedy, Drama, Romance
||Director: Aki Kaurismäki,
||Stars: Aino Seppo, Anneli Sauli, Annikki Tähti, Antti Reini, Elina Salo, Esko Nikkari, Janne Hyytiäinen, Juhani Niemelä, Kaija Pakarinen, Kati Outinen, Markku Peltola, Matti Wuori, Outi Mäenpää, Pertti Sveholm, Sakari Kuosmanen
||Synopsis: The second part of Aki Kaurismäki's "Finland" trilogy, the film follows a man who arrives in Helsinki and gets beaten up so severely he develops amnesia. Unable to remember his name or anything from his past life, he cannot get a job or an apartment, so he starts living on the outskirts of the city and slowly starts putting his life back on track. Written by Jussi Tarvainen <[email protected]>
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This movie is deceptive--a casual viewing could discard it as another "feel
good" film from Europe.
It permeates Christian values without sermons, priests, or any religious
hard sell (a small poster of Christ in a booth of the Salvation Army is an
exception). Philosophically, it presents Tabula Rasa or a clean slate to
begin life anew. The film tends to be absurdist (not even a moan emanates
from brutalized victims of violence, broken noses are twisted back
painlessly, victims of violence emerge from shadows to mete out justice).
The film recalls shades of the brilliance of Tomas Alea's early Cuban films
and the humanity of Zoltan Fabri's Hungarian cinema.
The film presents entertainment of a kind that would be alien to
Hollywood--a cinematic essay on human values that seem to be a rare
commodity the world over. There is no sex; there is no need for it. The poor
who live in garbage bins and in empty containers, are rich with pockets full
of kindness, helping each other without any expectation of a reward. The
rich and powerful (the ex-wife and her lover, the policemen, the hospital
staff, the official who rents out illegal living space) seem bereft of true
feelings or any human kindness. The poorer sections of society (the
electrician, the restaurant staff, the family who nurses the main character,
the Salvation Army staff) do good to others, care about others and expect
nothing in return.
The film is an affirmation of Christian values without preaching religion.
The main female character in love with the man, is ready to sacrifice her
love because she genuinely respects marriage vows and even brings a "train"
schedule to send off her lover to his wife. The art of giving is sanctified.
A man who employed workers believes in paying his workers, even if it meant
robbing a bank to do so. A lawyer argues a case well because he likes the
Salvation Army. Symbolically, even half a potato among six or eight
harvested is given away to some stranger wanting to eat it and avoid scurvy!
Again, symbolically there is rain on a clear day to help grow the few
The film provides humour of a quaint, Finnish variety. A timid dog that eats
leftover peas is called Hannibal--a male name one can associate with a king
or even the cannibalistic Hannibal Lecter--even though the dog is female.
There are swipes taken against the government and its associated machinery
(antiquated laws, North Korean buying Finnish banks, retirement benefits,
strikes and strikers, bank staff, corrupt banking practices).
Trains play a crucial role in Kaurismaki's screenplay. It begins and ends
the film. It also punctuates the film, when the past is revealed,
There are possible flaws in the film--the blue tint when the children spot
the injured man. The unexplained Japanese dinner with Sake and Japanese
music on the train. The significance of the cigar in the script is elusive.
The choice of songs, however good, seem to be haphazard.
The script is otherwise brilliant. In glorifying the detritus of society,
Kaurismaki seems to affirm there is indeed a link between the tree and
falling dead leaf (with reference to a comment by a character in the movie).
The train moves on. Forward, not backwards!
Minimizing the world into a man, a woman, a dog and trains, Kaurismaki
serves a feast of observations for a sensitive mind--a tale told with a
positive approach to move on and seize the day. It is a political film, an
avant garde film, a comedy and a religious film, all lovingly bundled
together by a marvelous cast.
Finland should thank Kaurismaki--he is her best ambassador. He makes the
viewer love the Finns, warts and all!
Tags for The Man Without a Past Full Movie
, Anneli Sauli
, Annikki Tähti
, Antti Reini
, Elina Salo
, Esko Nikkari
, Janne Hyytiäinen
, Juhani Niemelä
, Kaija Pakarinen
, Kati Outinen
, Markku Peltola
, Matti Wuori
, Outi Mäenpää
, Pertti Sveholm
, Sakari Kuosmanen
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