In Kaurismäki’s drolly existential crime drama, a coal miner named Taisto (Turo Pajala) attempts to leave behind a provincial life of inertia and economic despair, only to get into ever deeper trouble. Yet a minor-key romance with a hilariously dispassionate meter maid (Susanna Haavisto) might provide a light at the end of a very dark tunnel. Ariel, which boasts a terrific soundtrack of Finnish tango and Baltic pop music and lovely cinematography by Kaurismäki’s longtime cameraman Timo Salmimen, put its director on the international map. —The Criterion Collection
Aki Kaurismäki did a wide variety of jobs including postman, dish-washer and film critic, before forming a production and distribution company, Villealfa (in homage to Jean-Luc Godard’s Alphaville, une étrange aventure de Lemmy Caution (1965)) with his older brother Mika Kaurismäki, also a film-maker. Both Aki and Mika are prolific film-makers, and together have been responsible for one-fifth of the total output of the Finnish film industry since the early 1980s, though Aki’s work has found more favour abroad. His films are very short (he says a film should never run longer than 90 minutes, and many of his films are nearer 70), eccentric parodies of various genres (road movies, film noir, rock musicals), populated by lugubrious hard-drinking Finns and set to eclectic soundtracks, typically based around ‘50s rock’n’roll.
In the 1990s he has made films in Britain (I Hired a Contract Killer (1990)) and France (La vie de bohème (1992)). —IMDb
Matti Pelonpaa is such a badass, though I question the decision to have him bend down for the money and take his eyes off those guys. Nobody in that situation would do that, especially not a convict. Still, an overall great film, and my favorite of the "Proletarian Trilogy."
A: Urho Kekkonen, Finnish president from 1956-1982, and a symbol of political stability, to most. Austin Film Society posits that this is a "rebuke of religion," since the portrait is placed next to that of Christ. Pietari Kääpä suggests it's an instance "where the traditional past collides with the realities of the contemporary present, emphasising the disjunction between these two orders of making sense of the world." I say: "Um." Symbolism has never been my strong suit...