Mies vailla menneisyyttä

This Finnish film may not be for everyone. Though nominated in 2002 for an Oscar for best foreign film, I don't think it got much play in the US. It's a quiet movie about a guy who is beaten in a park in Helsinki right after getting off a train. The hospital thinks he's dead, but he staggers out, gradually recovers, and can't remember a thing. He meets a number of people, most of whom help him in some way or another. He meets a Salvation Army woman and a relationship develops.

It's hard to describe this movie. The dialogue is often funny, but delivered absolutely deadpan. There is no excitement, but a rich development of story and relationships through incidents that happen to the lead character or that he causes to happen. The two leads, Markku Peltoa and Kati Outinen, are adults and look it. There's no Hollywood handsomeness about either of them. The structure of the movie is a gem of economy. One scene ends and the film moves briskly on to the next scene. No extended, unnecessary character development. No superfluous dialogue. It may sound pompous, but this movies creates at the end a nice feeling of mature contentment.

This is the first Aki Kaurismaki film that I have seen and it is the second film in a trilogy. I definitely want to see the first one now and I plan on seeing the third whenever it comes to my neck of the woods. Film is a very simple story of a man (Markku Peltola) who while waiting for a train goes to a park and falls asleep on a park bench. Three thugs come along and beat and rob him. He is so beaten that when he wakes up in a hospital he has amnesia. We never do find out his name! He leaves the hospital and has no where to go. A very poor family living in a metal container take him in and try to help him. He goes to the Salvation Army for free food and an opportunity to work small jobs and its there that he meets Irma (Kati Outinen) and is attracted to her. The film follows this man as he romances Irma and works odd jobs. Its all presented in a very dry and droll comedic fashion. All the characters are very emotionless no matter what the circumstances are and in some ways its reminiscent of the films that Jacques Tati use to make. In one scene in a bank a robber enters and shoots a broken security camera and the teller and our protagonist all act very calm and very polite. At the heart of this film is even though the characters are very quiet they are very helpful of one another and seem to care for each other. I have heard that all of Kaurismaki films are like this and its been nicknamed "Aki's world". Kaurismaki is a very unique filmmaker and the way he presents his characters is in contrast to the bleak area that they live in. Even though the film and the characters are laid back in their attitude, the romance between the man and Irma shouts of passion. Their affection and fondness for one another doesn't need words. It rings loud and clear!

I am not familiar at all with the work of this director at all so I was unsure what to expect from this movie when seeing it as part of the Regus London Film Festival on tour.

I needn't have worried. This film is very touching and in many places laugh out loud funny. The scene where the dog is introduced is just side-splitting.

The humour is so dry and it is very hard to compare this film with many other films, but for some reason it reminded me a little of Jean-Pierre Jeunet's Delicatessen, especially some of the colours in the set design.

I understand this film is the second part of a trilogy? I simply have to see more stuff from this guy, I feel like I have missed out in a big, big way!

If you get the chance, don't hesitate to see this film, it is simply a work of art. I for one will be going to see it again when it goes on general release next year.

Herzog introduced me to the tension created by moving back and forth from highly styled scenes to realistic ones in syncopated steps. It has an extraordinary effect; I do not know who first devised this technique, but it matters.

Sometimes, you will see it adding value on the real side. Rarely is it ever used this way, to multiply anchor a minimalist sketch of fate. Jarmusch does this, perhaps being the master, but this is pretty clean, novel and effective as well. Its because Fins are inherently minimalist in a particularly overt way. Stylized in a stylized way, perhaps to stand above its neighbors who value cleanliness but only after passing through terminal sophistication.

There is a sweet purity to this man we see, and the man we do not who made the thing. There is an honor in just getting up in the morning. The people here are either honest and generous — even the local cop who exploits the poor — or crippled participants in the machine. Everyone with a conventional job is in this latter class.

Just as with most Jarmusch, music and the enrichment it brings, is woven into the story as an intrinsic element. The music itself is highly stylized, and like the film is an abstraction of deep, rich emotion. It is played here by a Slavation Army band our hero brings to musical salvation. The love story matters I think, because it depends on nothing other than simple need and directness.

Ted's Evaluation -- 3 of 3: Worth watching.

The Man Without a Past, the second installment in Aki Kaurismäki's "losers" trilogy (the first being 1996's Drifting Clouds), is, to date, the only Finnish film to have received a Best Foreign Language Film Oscar nomination, and deservedly so. It's a wonderful, heartbreaking opus, and arguably Kaurismäki's finest movie.

At the story's center we find a nameless man (Markku Peltola), who arrives in Helsinki for unknown reasons. That same night, he's brutally assaulted by a group of punks. This incident makes him look dead, although we immediately learn he is alive, if completely amnesiac. With no idea of who he is or what he's supposed to do, he starts looking for a home and an employment. He manages to rent a "house" in the city outskirts (don't miss Sakari Kuosmanen as the landlord) and befriends Irma (Kati Outinen), a social worker who tries to help M (in lack of a better name, and given "X" is quite overused) as much as possible. It is this friendship, which slowly evolves into something deeper, that truly motivates the protagonist in his pursuit of a better life.

The Man Without a Past strikes us because, unlike other films involving amnesia, it makes us hope M won't recover his memory: what he experiences throughout the movie, the people he meets, that's what really matters. It's a little bit like a road movie (they never end with the characters reaching their destination), only this time the voyage involves the mind and the spirit. It's a similar voyage the director asks the audience to join, as he artfully explores human life and its chances of improvement.

Moving and reminiscent of Italian neorealism (De Sica, Rossellini, Visconti), The Man Without a Past is a flawless reflection on how happiness is to be found anywhere, no matter the circumstances.