(1/4)
Extract Article entitled "Shadows (also) in Paradise," published in its extended version, in Shangri-la. Drifts and fiction apart . No. 10. 2009.
Shadows (also) in paradise I
Director of a stylized neo-realism, more sober poetic unlike him. In the simplest form where nothing seems to happen. Of the economy in the staging, the footage and words. Of dialogues sharp, surreal, absurd at times, sincere. Director of the parody of gender and love, the calm rhythms of music, folk music, folklore, rock, punk, pure color and soulless atmospheres, the disinherited and losers, the unemployed and marginalized, the jukebox. Author of the plant, stylized and expressive resource contention, the brutality, the comic, the simplicity and minimalism. Kaurismäki is a Jansenist inclined to communicate true feelings in packaging design realistic. A formalist no hint of drama, with a large dose of stoicism in his creatures, with antipathy towards literaturización dialogues and scripts allergy with a beginning, middle and end. Weak narratives and internalization of any feeling of anti-heroes, of disenchantment.
Shadows in Paradise (1986) is the first film of the trilogy proletarian and stars two actors best fetish and carry off the universe of Kaurismäki, Matti Pellonpää (1951-1995) and Nikander and Kati Outinen ( 1961 -) in the role of Ilona, \u200b\u200bwho later briefly parody actress with a cameo funeral Lights in the Dusk. Dashes in Kaurismäki's films, often interchangeable, are innocent cartoon themes classical and well reflected in its basic outline. Shadows in Paradise is perhaps a particularly unhealthy view of love, is perhaps a stark exposure of the love subject to market rules, is perhaps a story of losers and exploitation, is perhaps a story about unemployment and the fragility of human being in society, is perhaps a story about isolation and the value of music is perhaps a story about false hopes that still resist .... Shadows in Paradise meets all fragments without affecting too much in either, filtered all an ascetic style debugging any modern fiction. Debugging (in S ombras in Paradise there is still some dynamic camera movement) that would have its formal apotheosis and n The girl match factory, closed to any hint of light, as well as premiered his latest film Lights in the Dusk. True to style, Kaurismäki is often accused of standing pat, repeatedly shooting the same film, some toilet in filmmakers like Ozu, Hitchcock, or Allen, but more evident with the Finnish filmmaker and rigorous methods of purification, but also styling and constant concern for achieving true feelings, even if this means turning reality in its design.
Nikander is a driver of the garbage truck, a worker without just horizons, past or nuances. His characterization is silent, never externalized, and only a few buds shaped by dialogue and scenes of daily life: she lives alone, is silent, attends a bizarre English classes, has a sister in a mental hospital and not much else. After years working for the company and just when you have the opportunity to advance their own business, the death of his partner returns to the heartbreaking reality, taken with aplomb. A life more concerned about surviving in life, never tearing beyond the surface of things. It is no coincidence that Ilona meet in a supermarket, obligatory place in the singles. Ilona is a cashier, their third in a few months, she battered by unemployment arbitrary and stereotypical entertainment that encourages clubs depressing visit to the tag and put a smile on his face nerd. A concept of fun and a recurring topic in Kaurismäki's films where the characters try to be spliced \u200b\u200bto the alleged happiness routines without much success, to finish in the sofa at home or meaningless after a beating. Society with its neon traps them while they are flushed. This not only highlights a sedentary working mentality, but also government policies that have been edited out any hint of progress and conflict, citizens cornering alcoholism, leisure supermarkets and credit.
Soon after leaving prison (a must in almost all movies Kaurismäki), Nikander and Iliona be cited just a few monosyllables, and comes into the picture a defeatist view of love as the last refuge against loneliness and the precariousness of life. A valium against anxiety and doubts that arise at every step. However, that agreement (perhaps against the terror of death) do not raise a condition, and also be marginalized by their social status when they try to dine at a fine restaurant or her stay in a hotel. Before, but unfairly dismissed IIona with crude pretexts unable to hide his employer nepotism. Faced with another injustice, stealing and chooses IIona flee. Chance makes an appearance and with Nikander undertaken a flight without a destination where you glimpse the possibility of some balance. A doubtful happiness, certainly not the dream, but the most realistic option. However, the fragile dichotomy between the rigidity of Dreams ( dream of life) and his resignation leads to a break that will demolish the protagonist without much fanfare and after two-color vision sunglasses behind which are protected in vain. Does not rebel against pain or no sense of pain, rather inject it with an eye loss.
His subsequent encounter is a mystery, a parody: the acceptance of resignations from the shadows of a dream paradise, relentless criticism against I hungry for a possible realization hosted by Hollywood. A mystery, as to why people behave as they do is, ultimately incomprehensible. Love, solidarity, comrades of insecurity and emotional distress ... the point is that both take flight to Tallinn with its icy, dark winters, the dry spring and wet summers and warm. A happy ending wing darkened after Kiiruhda Marstio Harri.
Shadows in Paradise (1986) is the first film of the trilogy proletarian and stars two actors best fetish and carry off the universe of Kaurismäki, Matti Pellonpää (1951-1995) and Nikander and Kati Outinen ( 1961 -) in the role of Ilona, \u200b\u200bwho later briefly parody actress with a cameo funeral Lights in the Dusk. Dashes in Kaurismäki's films, often interchangeable, are innocent cartoon themes classical and well reflected in its basic outline. Shadows in Paradise is perhaps a particularly unhealthy view of love, is perhaps a stark exposure of the love subject to market rules, is perhaps a story of losers and exploitation, is perhaps a story about unemployment and the fragility of human being in society, is perhaps a story about isolation and the value of music is perhaps a story about false hopes that still resist .... Shadows in Paradise meets all fragments without affecting too much in either, filtered all an ascetic style debugging any modern fiction. Debugging (in S ombras in Paradise there is still some dynamic camera movement) that would have its formal apotheosis and n The girl match factory, closed to any hint of light, as well as premiered his latest film Lights in the Dusk. True to style, Kaurismäki is often accused of standing pat, repeatedly shooting the same film, some toilet in filmmakers like Ozu, Hitchcock, or Allen, but more evident with the Finnish filmmaker and rigorous methods of purification, but also styling and constant concern for achieving true feelings, even if this means turning reality in its design.
Nikander is a driver of the garbage truck, a worker without just horizons, past or nuances. His characterization is silent, never externalized, and only a few buds shaped by dialogue and scenes of daily life: she lives alone, is silent, attends a bizarre English classes, has a sister in a mental hospital and not much else. After years working for the company and just when you have the opportunity to advance their own business, the death of his partner returns to the heartbreaking reality, taken with aplomb. A life more concerned about surviving in life, never tearing beyond the surface of things. It is no coincidence that Ilona meet in a supermarket, obligatory place in the singles. Ilona is a cashier, their third in a few months, she battered by unemployment arbitrary and stereotypical entertainment that encourages clubs depressing visit to the tag and put a smile on his face nerd. A concept of fun and a recurring topic in Kaurismäki's films where the characters try to be spliced \u200b\u200bto the alleged happiness routines without much success, to finish in the sofa at home or meaningless after a beating. Society with its neon traps them while they are flushed. This not only highlights a sedentary working mentality, but also government policies that have been edited out any hint of progress and conflict, citizens cornering alcoholism, leisure supermarkets and credit.
Soon after leaving prison (a must in almost all movies Kaurismäki), Nikander and Iliona be cited just a few monosyllables, and comes into the picture a defeatist view of love as the last refuge against loneliness and the precariousness of life. A valium against anxiety and doubts that arise at every step. However, that agreement (perhaps against the terror of death) do not raise a condition, and also be marginalized by their social status when they try to dine at a fine restaurant or her stay in a hotel. Before, but unfairly dismissed IIona with crude pretexts unable to hide his employer nepotism. Faced with another injustice, stealing and chooses IIona flee. Chance makes an appearance and with Nikander undertaken a flight without a destination where you glimpse the possibility of some balance. A doubtful happiness, certainly not the dream, but the most realistic option. However, the fragile dichotomy between the rigidity of Dreams ( dream of life) and his resignation leads to a break that will demolish the protagonist without much fanfare and after two-color vision sunglasses behind which are protected in vain. Does not rebel against pain or no sense of pain, rather inject it with an eye loss.
His subsequent encounter is a mystery, a parody: the acceptance of resignations from the shadows of a dream paradise, relentless criticism against I hungry for a possible realization hosted by Hollywood. A mystery, as to why people behave as they do is, ultimately incomprehensible. Love, solidarity, comrades of insecurity and emotional distress ... the point is that both take flight to Tallinn with its icy, dark winters, the dry spring and wet summers and warm. A happy ending wing darkened after Kiiruhda Marstio Harri.
01:07:18,400 -> 01:10:08,714
My poor heart is beating
longs here in total isolation.
So hurry up, please
oh, come home fast
a man's life is so short.
Come quickly to me, my love, my life
You give me everything.
Hurry, please, come quickly to me
Everything here is yours.
But my friend, but ask
I know that all is in vain. Even if you crave
Day and night, not chase after me.
No, because they also know
Life only bring us pain.
No hurry now behind me here
shadows swallow you.
No hurry, the beautiful world looks
Because here you will not see tears.
My poor heart is beating
longs here in total isolation.
So hurry up, please
oh, come home fast
a man's life is so short.
Come quickly to me, my love, my life
You give me everything.
Hurry, please, come quickly to me
Everything here is yours.
But my friend, but ask I know that all is in vain. Even if you crave
Day and night, not chase after me.
No, because they also know
Life only bring us pain.
No hurry now behind me here
shadows swallow you.
No hurry, the beautiful world looks
Because here you will not see tears.
0 comments:
Post a Comment