LIGHTS IN THE DUSK (LAITAKAUPINGIN VALOT)

Finland, 2006, 78 minutes, Colour.
Janne Hyytiainen, Maria Heiskanen.
Directed by Aki Kaurismaki.

Now we have Kaurismaki’s Man without a Future – he is a Man without very much of a present as well.

Once again we are in Helsinki, back in the lower socio-economic area and population. The film is only 80 minutes long but the director has used constant long fade-outs that make the film seem both episodic and longer than it is.

Several other characteristics of Kaurismaki’s film-making are to the fore. His dialogue is frequently understated and laconic. His hero (or anti-hero) Koistinen is a man of few words. The dialogue is often humorously deadpan. And that is true here as well. He is also mad about music, all kinds of music, and the final credits are surprising in reminding us of the extent and range of songs and excerpts from opera that he has included.

After establishing Koistinen as one of life’s slower paced people, a security guard who tends to be overlooked or teased (although Janne Hyytiaininen seems too ‘together’ for the role), the plot takes off when an attractive blonde insinuates himself into his mundane and routine existence. She is, of course, a femme fatale, and leads the unwitting Koistinen into what could be a mini-hell but which he stoically endures.

As with Man Without a Past, Kaurismaki shows a great deal of compassion for the little people. In fact, the film could be read as a contemporary allegory of the rich exploiting the poor, using the unsuspecting decent people to aggrandise themselves and make them rich, proud that their gift, they claim, is to be able to spot and read the exploitable.

The films leaves its audience with sad but good feelings.

1.The cinema of Ari Kaurismaki? His career? Idiosyncrasies? His social concerns? Finland, Helsinki?

2.The film as an allegory of the rich oppressing the poor, exploitation? The humane perspective of the film?

3.Helsinki, the opening vistas, the streets and the buildings, the security guard and his round, restaurants, homes, night shelters? Vacant lots? The waterfront?

4.The importance of the musical score, the range of songs, contemporary, opera excerpts?

5.Kaurismaki’s writing, laconic characters? Deadpan humour, remarks and irony?

6.The portrait of Koistinen, his work, age, alone, his loneliness? His being ignored, insulted? His low self-esteem? A loser? His hopes, founding a company? Doing the course? Going to see the woman at the grill, laconic remarks, his depression? Drinking? Smoking?

7.The girl and her appearance, blonde and cool, silent? Calculating? Coming especially to his table, the talk, the ironic remarks? The plan to go out, his meeting her, taking her to the movie, the experience of the movie? The meal, the restaurant, her concern about his paying? His determination? Going to the disco, her dancing, his not being able to dance – despite his claims of rock ‘n roll? The polite kiss? The planning to see her again? The effect on him? His explaining it to the woman at the grill? The preparation of the meal at home, the flower and cutlery, the roast? Her arrival, her excuses, her leaving? His going drinking? Her appearance, her persuading him to take her on the rounds? Her noting the codes?

8.The robber, the set-up in the restaurant, picking out Koistinen? The restaurant scene, the girl and her willingness to participate – some hesitation? Ultimately not? With her lover, her prostitute background and his hold over her? The planned holiday? Reappearing and disappearing on Koistinen? The coffee, taking him to the car, the drugs, taking the keys? The collage of the robbery?

9.Koistinen, his being interrogated, arrested? His loyalty and silence? The villain seeing him as ‘loyal as a dog, a romantic fool’? The trial, his sentence? The time in jail, living it through, quietly coming out?

10.Getting the job, washing the dishes, the approval of the manager? Staying at the shelter? The woman from the grill, her visit (after tearing up her letter in jail)? The smoke, the conversation? The encounter with the criminal and the girl in the restaurant, his staring at them, his being sacked?

11.Sharpening the knife, the attack, the criminal ordering that he be bashed? Not murdered – because he was humane?

12.The scene with the young boy, minding the dog, his warning Koistinen early that the men who owned the dog were big? Koistinen being bashed? The boy going to tell the woman at the grill, their finding Koistinen and helping him?

13.The final image of the hands touching each other – an image of hope, break out of loneliness? Perhaps?