The city of Tampere is about to host an important international conference on environmental issues. At the local TV studios, floor manager Tapani starts discovering mysterious things ... See full summary »
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1  
1991  
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Cast

Series cast summary:
Vesa Vierikko ...
 Tapani (2 episodes, 1991)
Mari Rantasila ...
 Helena (2 episodes, 1991)
Ilkka Merivaara ...
 Risto / ... (2 episodes, 1991)
Ismo Alanko ...
 Bändi / ... (2 episodes, 1991)
Jukka Orma ...
 Bändi / ... (2 episodes, 1991)
Jouko Hohko ...
 Bändi / ... (2 episodes, 1991)
Ulla-Maija Siikavire ...
 Tapani's Wife / ... (2 episodes, 1991)
Elina Rintala ...
 Girl / ... (2 episodes, 1991)
Jussi Ritola ...
 Tapani's Son / ... (2 episodes, 1991)
Ari Siitonen ...
 Bändi / ... (2 episodes, 1991)
Hanna Kestilä ...
 Tapani's Daughter / ... (2 episodes, 1991)
Martti Palo ...
 Caretaker / ... (2 episodes, 1991)
Pekka Huotari ...
 Cameraman / ... (2 episodes, 1991)
Tero Jartti ...
 Cameraman / ... (2 episodes, 1991)
Pauliina Autio ...
 Girl (2 episodes, 1991)
Turo Pajala ...
 Cameraman / ... (2 episodes, 1991)
Tomi Salmela ...
 Cameraman / ... (2 episodes, 1991)
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Storyline

The city of Tampere is about to host an important international conference on environmental issues. At the local TV studios, floor manager Tapani starts discovering mysterious things happening around script supervisor Helena, his new mistress. Her loss of short-term memory seems easily explained by an accident at the studios but makes it all the more difficult for Tapani to unfold the rest of the mystery around her, something involving phones being tapped, people getting killed and whatever it was that happened earlier in England while Tapani and Helena were shooting a documentary there. The intricate plot is told in a non-linear fashion where scenes are repeated and intertwined in various ways to give them new meanings with every viewing. Written by Markku Kuoppamäki

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Genres:

Drama | Mystery

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Release Date:

2 January 1991 (Finland)  »

Also Known As:

Off the Map  »

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Runtime:

(6 episodes)

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Connections

Featured in Neil Hardwick - aina marginaalissa (2009) See more »

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User Reviews

Flawed, scrambled and gripping
31 December 2011 | by (Helsinki, Finland) – See all my reviews

This eccentric thriller was director Hardwick's last major television drama project and far removed from the witty and warm comedies with which he first made his name. It was heavily inspired by the ecological themes of Edge of Darkness, the cynical political vision of Wipe Out and the narrative innovations of The Singing Detective. The series' decentralised narrative, which flicks back and forth in time, guided more by visual motives and emotional states than linear story-telling, drew the most attention and criticism at the time, and has not been attempted again in Finnish television twenty years later. In some ways it is an overplayed device, but it does transform the essentially rather simple story into a more kaleidoscopic narrative, by delaying key information and allowing multiple viewpoints to same events. Above all, it forces the audience to engage their frontal lobes and work for their entertainment.

It also serves as a metaphor for the main characters, who are realistically flawed and multifaceted human beings: the passionate and dangerously driven Helena is affected by Korsakoff's syndrome that scrambles her short-term memory, while the naively infatuated everyman Tapani grasps ineffectually for understanding of the web of machinations around him and is dragged along passively into the fatal of heart of knowledge. As television people, they both struggle for meaning and control in the same way as they direct and conduct the multi-camera studio environment, neither recognising soon enough that their vision is limited and that things are out of their control. Truth will not set anyone free and actions spiral out of hand.

Hence Pakanamaan kartta is not only a dark political thriller but an ultra-cynical commentary on the western industrial culture at the tail-end of the yuppie period and the comforting stories it produces for consumption. The series replays the standard narrative devices, like the dissolution and re-consolidation of the nuclear family, yet at the same time shows they cannot redeem the situation once all the actors have been locked into their trajectories. It is this loss of comforting conventions, moral clarity and easy identification that becomes just as upsetting as the violent and suspenseful surface action as the series progresses towards its climax. Violence itself is sparse, but surprisingly unpleasant when it does turn up. The series was shot on tape instead of film, which only serves to enhance the sleaziness and the narcissistic emptiness behind the gloss of the late-80s culture. Finland itself was at the grips of a punishing recession by the time the series aired, and its attitudes did resonate with the popular indignation over the excesses of the past decade. Still the ending could be seen as a cop-out, but then any conclusion would likely seem unsatisfactory (as was the case with Edge of Darkness).

While parts of it inevitably seem dated, particularly the deceptively superfluous-seeming subplot about a runaway Estonian rock band, the series still stands as a formidable achievement in Finnish television history. It is one of the still too few productions to challenge the uncomplicated black and white world-view and safe conventions typical of most television drama but very alien to reality.


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