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The Man Without a Past (2002)

Mies vailla menneisyyttä (original title)
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 ... See full summary »

Director:

Aki Kaurismäki

Writer:

Aki Kaurismäki

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Nominated for 1 Oscar. Another 21 wins & 24 nominations. See more awards »

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Cast

Cast overview, first billed only:
Markku Peltola ... M
Kati Outinen ... Irma
Juhani Niemelä Juhani Niemelä ... Nieminen
Kaija Pakarinen Kaija Pakarinen ... Kaisa Nieminen
Sakari Kuosmanen ... Anttila
Annikki Tähti Annikki Tähti ... Manager of Flea Market
Anneli Sauli ... Bar Owner
Elina Salo ... Dock Clerk
Outi Mäenpää ... Bank Clerk
Esko Nikkari Esko Nikkari ... Bank Robber
Pertti Sveholm Pertti Sveholm ... Police Detective
Matti Wuori Matti Wuori ... Layer
Aino Seppo Aino Seppo ... Ex-wife
Janne Hyytiäinen ... Ovaskainen
Antti Reini Antti Reini ... Electrician
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Storyline

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 <jussi_tarvainen_84@hotmail.com>

Plot Summary | Plot Synopsis

Genres:

Comedy | Drama | Romance

Motion Picture Rating (MPAA)

Rated PG-13 for some violence | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Finland | Germany | France

Language:

Finnish

Release Date:

1 March 2002 (Finland) See more »

Also Known As:

The Man Without a Past See more »

Filming Locations:

Verkkosaari, Helsinki, Finland See more »

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Box Office

Budget:

FIM 8,000,000 (estimated)

Opening Weekend:

$22,392 (Finland), 8 November 2002

Opening Weekend USA:

$23,281, 6 April 2003, Limited Release

Gross USA:

$921,547, 21 September 2003
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

The second part of Aki Kaurismäki's "Finland" trilogy, following Drifting Clouds (1996). See more »

Goofs

The Helsinki railway station's extension roof is clearly visible at the opening scene, but it hadn't been build yet in 1996 (the year can be read from the newspaper). See more »

Quotes

Nieminen: You've got worker hands. You must have used these hands; you don't look like a reader.
M: Thank you.
Nieminen: You're welcome.
See more »

Connections

References Stolen Kisses (1968) See more »

Soundtracks

Motto Wasabi
Performed by Masao Onose
(Masao Onose)
Published by BMG Funhouse Music
Publishing/Double Joy Records
From Masao Onose's album "Onose Masao Show"
(P) & © 2000 Double Joy Records
Licensed courtesy of Double Joy Records
See more »

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User Reviews

 
Reducing the world into a man, a woman, a dog and trains
27 January 2004 | by JuguAbrahamSee all my reviews

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 potatoes...

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, briefly.

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!


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