Der Mann ohne Vergangenheit (2002)

Der Mann ohne Vergangenheit: Directed by Aki Kaurismäki. With Markku Peltola, Kati Outinen, Juhani Niemelä, Kaija Pakarinen. M arrives in Helsinki only to be viciously attacked by thugs and pronounced dead by medics. He revives but with no memory of his past or his identity. He rebuilds his life from scratch, but the past inevitably catches up with him.

“This movie is deceptive–a casual viewing could discard it as another u0026quot;feel goodu0026quot; film from Europe. u003cbr/u003eu003cbr/u003eIt 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 Aleau0026#39;s early Cuban films and the humanity of Zoltan Fabriu0026#39;s Hungarian cinema. u003cbr/u003eu003cbr/u003enThe 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.u003cbr/u003eu003cbr/u003eThe 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 u0026quot;trainu0026quot; 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…u003cbr/u003eu003cbr/u003eThe 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).u003cbr/u003eu003cbr/u003enTrains play a crucial role in Kaurismakiu0026#39;s screenplay. It begins and ends the film. It also punctuates the film, when the past is revealed, briefly.u003cbr/u003eu003cbr/u003eThere 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.u003cbr/u003eu003cbr/u003eThe 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! u003cbr/u003eu003cbr/u003eMinimizing 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.u003cbr/u003eu003cbr/u003eFinland should thank Kaurismaki–he is her best ambassador. He makes the viewer love the Finns, warts and all!”