Aki Kaurismäki, a director from Finland, was prepared for the paleness and dullness of Nordic movies (where is the discrimination against the North?), but he did not expect that the plot and rhythm would turn sharply after a scene. , completely exceeded expectations!
The miner Kasurinan took his entire savings and drove the convertible Cadillac left to him by the owner to Helsinki to find another way out. Kasurinan, who is not familiar with the world, was robbed of all cash on the first night and fell into a life of almost no money. He still strives for himself, and goes to work as a black worker during the day and stays in the shelter provided by the church at night. Kasurinan meets Ilmeler, a multi-tasking single mother (it's nice to be handsome and have a car?), and the seemingly one-night stand strikes up a conversation that makes the two immediately enter into a strange relationship, which also leads to the following plot. Seeing that life is gradually on track, Kasurinan was wrongfully imprisoned, and met his cellmate Mi Kenan. With the help of Ilmeler, the two escaped from prison. He and his child successfully smuggled aboard the freighter Ariel (turned into a liftoff) bound for Mexico, ready to start another life.
The plot of the whole film is compact and uniform, the absurd and exaggerated plot, the cool and fast shots and the black humor of Aki make me very fond of this film. Many interesting scenes in the film made me very happy to watch: when the penniless Cassuriname was about to be billed by the parking toll collector Ilmeler, he seriously asked how he could not be billed, and Ilmeler thought too. I don't want to say: "Invite me to dinner! ', before Kasurinan's good words fell, she turned around and jumped into the convertible, muttering that the toll collector's clothes were not very good-looking anyway, and she would just find a job. Ilmeler's child is only seven or eight years old, and the childish language reveals the helplessness of seeing the world, which makes people laugh and cry. The ending of the plot is especially well received, the shot Miconan sits in the back seat of the convertible, points suspiciously at a button and says what this is for, and reaches out and presses it, a shed that was thought to be broken from the beginning. The fact that the cover was automatically unfolded made Casurinan dumbfounded, so what was the purpose of driving in the wind and snow with the open top before, I think this is part of life: there will always be some unnecessary suffering, but fortunately, life is finally closed with the cover closed. Consummation is just fine, these are all processes and there is nothing to worry about.
As the second part, Aki's understanding of the middle and lower working class is also clearer in terms of plot and tailoring. Aki's criticism of the exploitation of the working class and the face of the capitalists is finally resolved by his own struggle (whether the struggle is legal or not (laughs)), the humorous tone and the positive subject are what I like, and should also be faced with attitude to life. In the life of misery and misery in the eyes of the world, the protagonist in the play never forgets romance and humor behind the calm and plain speech and face, and more importantly, maintains "the people's yearning for a better life". Knowing myself clearly, neither being humble nor arrogant, not easily bowing my head to life, daring to love and daring to cherish poetry and distant places, all hit me deeply. Although my life is far less miserable, the nature of working people is still the same!
Deep picture: Casuarina in a black spiritual song about having to work
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