(possible spoiler in third-to-last paragraph, if taken in context)
Before the late great film critic Jay Scott left this planet in the early 1990's, the "Globe and Mail" critic also hosted a weekly television program, "Film International", which provided an invaluable resource of foreign films for those in Ontario who wouldn't have access to them otherwise. One of the crowning events of this series was the month-long collection of Aki Kaurismaki films (and one by his brother, Mika). Then as now, Kaurismaki
largely remains a well-kept secret among the film festival circuit. His delightfully deadpan works seldom get picked up for distribution in North America, which is a tragedy. He is one of the most original and interesting international filmmakers of the past quarter century.
SHADOWS IN PARADISE was the first Kaurismaki film I ever saw, and of the eight or so I have screened since, this remains one of his finest works, and a valuable introduction to his world. It is a shame that this is still not available on video. Like his contemporary and friend, Jim Jarmusch, Kaurismaki makes films about anhedonic expressionless underdogs who mostly sit around and brood. (Is it any accident that this film is similarily titled to Jarmusch's STRANGER THAN PARADISE?) Both men take the simple set-up of Warhol filmmaking to another level. Their films are full of unobtrusive single-take scenes (or at least with minimal editing), moving portraits of lonely disenchanted people, very addictive viewing because you never know what happens next. Like Jarmusch or Chantal Akerman, Kaurismaki is a master of minimalist filmmaking.
But what separates his work from others is his expert use of offscreen imagery (a kiss is represented by a hand holding a cigarette), the surprising spontaneity of his miserable characters (because the garbageman finds a record at the dump, he suddenly purchases a brand new stereo system in order to listen to it!), and a tacked-on, deliberately absurd happy ending (which impossibly gets his people out of the worst situations) which is meant to be his sly comment on the Hollywood films he despises.
Like any great film auteur such as Altman, Fellini, Preston Surges, or even Almodovar, Kaurismaki's films are peopled with unforgettable, unique faces via his own stock company. Matti Pellonpaa is perfect as the garbage man (his slicked-back hair, big glasses and droopy moustache make him the quintessential oddball underdog), as is the blank-faced Kati Outinen, the recently fired supermarket cashier who finds romance with this man. Her flat, pale visage is like death warmed over-- her only cinematic equivalent is Falconetti in LA PASSION DE JEANNE D'ARC.
SHADOWS IN PARADISE is the first of Kaurismaki's "loser" trilogy (followed by ARIEL and THE MATCH FACTORY GIRL). It is a hilariously deadpan, wonderfully dark, yet strangely sweet, and compulsive viewing experience. It is a crime that this movie has not been picked up by a video label. However you can, see this film!
Before the late great film critic Jay Scott left this planet in the early 1990's, the "Globe and Mail" critic also hosted a weekly television program, "Film International", which provided an invaluable resource of foreign films for those in Ontario who wouldn't have access to them otherwise. One of the crowning events of this series was the month-long collection of Aki Kaurismaki films (and one by his brother, Mika). Then as now, Kaurismaki
largely remains a well-kept secret among the film festival circuit. His delightfully deadpan works seldom get picked up for distribution in North America, which is a tragedy. He is one of the most original and interesting international filmmakers of the past quarter century.
SHADOWS IN PARADISE was the first Kaurismaki film I ever saw, and of the eight or so I have screened since, this remains one of his finest works, and a valuable introduction to his world. It is a shame that this is still not available on video. Like his contemporary and friend, Jim Jarmusch, Kaurismaki makes films about anhedonic expressionless underdogs who mostly sit around and brood. (Is it any accident that this film is similarily titled to Jarmusch's STRANGER THAN PARADISE?) Both men take the simple set-up of Warhol filmmaking to another level. Their films are full of unobtrusive single-take scenes (or at least with minimal editing), moving portraits of lonely disenchanted people, very addictive viewing because you never know what happens next. Like Jarmusch or Chantal Akerman, Kaurismaki is a master of minimalist filmmaking.
But what separates his work from others is his expert use of offscreen imagery (a kiss is represented by a hand holding a cigarette), the surprising spontaneity of his miserable characters (because the garbageman finds a record at the dump, he suddenly purchases a brand new stereo system in order to listen to it!), and a tacked-on, deliberately absurd happy ending (which impossibly gets his people out of the worst situations) which is meant to be his sly comment on the Hollywood films he despises.
Like any great film auteur such as Altman, Fellini, Preston Surges, or even Almodovar, Kaurismaki's films are peopled with unforgettable, unique faces via his own stock company. Matti Pellonpaa is perfect as the garbage man (his slicked-back hair, big glasses and droopy moustache make him the quintessential oddball underdog), as is the blank-faced Kati Outinen, the recently fired supermarket cashier who finds romance with this man. Her flat, pale visage is like death warmed over-- her only cinematic equivalent is Falconetti in LA PASSION DE JEANNE D'ARC.
SHADOWS IN PARADISE is the first of Kaurismaki's "loser" trilogy (followed by ARIEL and THE MATCH FACTORY GIRL). It is a hilariously deadpan, wonderfully dark, yet strangely sweet, and compulsive viewing experience. It is a crime that this movie has not been picked up by a video label. However you can, see this film!