(3 / 4)
Excerpt from article entitled "Shadows (also) in Paradise," published, as widespread, Shangri-la. Drifts and fiction apart . No. 10. 2009.
Shadows (also) in Paradise III
I stayed up to write. At times, I closed my eyes and leaning my hot forehead on my hands. But the dream did not have mercy on me. Through my weary eyelids I see her beauty, her mouth, her eyes, how her cheeks burn when I touch with my hands, what goes through a dazzling flame me when I caress her bare skin. I've never wanted so badly as now, when I know that I lost.
The siege of Constantinople . Mika Waltari
Film undetermined images and silences, with plenty of downtime and contemplative paths they reach their climax in The girl match factory, but the elegant languor of filmmakers like Antonioni. Undetermined because no interpretation is necessary: \u200b\u200bno such will. Yes vagueness prevails as aesthetic purpose. That fortuitous press the suggestion. As in the novels of Woolf, Joyce, Proust or Faulkner, Kaurismäki's characters are not portrayed or labeled. Their reactions seem indifferent to the disposition of its maker, constituting much of the footage a blank canvas for the viewer, for their ingenuity, to see and find. An aesthetic vacuum in which the interpretations starting from scratch and beg for the same unconscious awareness rushing to the photographer. Although the film draws on different genres not associated with any of them with firmness, fluctuates more fixed references. Nor is there any turning points, in the wake of Robert Frank, and special moments. Everything is worthy of being shown on an equal footing and without hierarchy.
His few statements leave no doubt and can be considered quite reactionary, more typical of times when sound films Chaplin was gaining ground and protested angrily. "In fact, the film is just a play of light and shadow. The spoken word, dialogue, are an unnecessary novelty added later, the same as or cinemascope movies third dimension. In my capacity as an environmentalist, I consider that the less dialogue in a movie has less needlessly pollutes the atmosphere. "
In this position you can see a criticism of the abuse of the word and the stagnation of the narrative film, so advanced Murnau's Sunrise and so static in the decades since, well below their potential today and more developed. Still, it seems incongruous to disregard the word and its significant power and give the music, sung word, as important as does the Finnish director. Maybe it's a personal position before the world and especially the contemporary cinema, often a pure, traditional paved and bombastic words that are not certified purity of feeling whatsoever. Against this, silence Kaurismäki shows a demand mercy and common sense. His universe is an umbrella against the rain of slogans, basting sad dreams a reality sterile always disappointed. The words do not mitigate the helplessness of the characters, only the noble and sincere gesture. Kaurismäki chosen, Shadows in Paradise, a true exercise in ecological and sincere.
Both Kati Outinen, Matti Pellonpää like other actors, boast a dry dialogues that do not add a great deal of information. The creation of the characters is more related to their gestures, the atmosphere, small actions and their occupations, thanks to a story spoken and thought in the viewer. Dialogues that ultimately only of interest to the characters and do not include the figure of the spectator, a mere voyeur. So do not force the dialogues explanatory speeches. If this is coupled with the paucity of shyness and his players some explicit words.
He answers curtly Small potatoes, informally means a person or thing of no importance, or a negligible amount of money. In short, she is saying in an encrypted form that is irrelevant and should be based, to illuminate the shadows, waiting in vain to stop and try to live life, there is no other.
Nevertheless, none of them seem to be too many illusions, capable of utilitarian role they may have on this story while undaunted in their development. It's not time requirements: everyone must accept the role assigned to it and forget any chimera. This just shines today. A dialogue is also purged of all rhetoric and fueled by the insecurities of characters abused, emotionally unstable and labor. Not give rise to subterfuge and born of a certain ill-concealed primitivism, with a hint of affection very buried. One idea is making its way, the flight, where they can be reborn from the ashes and re-dream believers. A topic bathed in fatalism and pessimism. She missed the plane to Florida, and says he has already seen too much to hold false hope of change in another setting. Either way, your aunt did travel to Florida and only saw some Finns and Donald Duck, perhaps because it was not censored (in Finland a few years ago decried Donald Duck not wearing pants). Just saw some Finns ... evidence that life provides different as you use glasses and her aunt could not see past it was chained to a deterministic view. Nevertheless, Kati Outinen trip gives hope to materialize by the end of the film, regardless of the destination too, finally Tallinn, as it does not matter what they leave behind. Such escapes are also revealed as a political response Kaurismäki obvious discontent with the way the Finnish government was running the country.
His narrative, and produce a simple effect contrast, demonstrates the futility of some statements against the facts, hard cash. The reality, the actions that we see, become change and words are unable to represent the change in righteousness and say no arrest him. Perhaps that is why Kaurismäki opt for silence on many occasions. Concise sentences, almost as silent subtitles. The construction of these dialogues and their intermittent confer a particular rhythm to the film that combines a sense of immobility with a rapid staging of the situations in bursts of words, mostly opaque. Are they real? Surely not describe a reality constructed in our imagination, closer to the idea of \u200b\u200bFaulkner that the best fiction is far more real and that any attempt to approach from a plane target. Perhaps we are accustomed to in excess of these dialogues as well outlined and calculated that closer dialogue as Kaurismäki seem bored, underutilized, as well as surreal. Dialogues that put voice to the silence and say more for what they do not say that what they say. Dialogues fleeing condensation feelings to the letter, not in vain Kati Outinen and Matti Pellonpää working hours, no time to wear their feelings and market to them, not a court of screenwriters behind. On the contrary, simplified verbalize their feelings and bathed in disappointment. The sentences are straightforward, such as punches thrown by a boxer trapped and lost the match points.
The conflict was revealed in the tortuous alignment of two characters need to be able to reason their needs. If I had to find a definition for the characters of Kaurismäki, in particular for Matti Pellonpää and Kati Outinen, anti-heroes would be loaded with a large latent sensitivity, but suffer from a huge emotional paralysis, prone to depression and helplessness, and severe communication problems. Without a dazzling good looks or intelligence. They are also characters who carry the rejection in their lives and a lack of interest. Yes, both feels alone and empty , but strive not to print a change in their lives, rather they just keep dreaming of stereotypical lifestyles as fade away.
In most Kaurismäki films and Shadows in Paradise is no exception, perhaps the most obvious starting point, a number of situations that are a cross-cutting and repeated: visits to the prison, interrogations in which the character is dealt with ruthlessly by the police, regardless of the context and injustice to be endured, the beatings with which Kaurismäki flatters his characters, often free, metaphor his vision of life, and music ...
One of the most momentous of Shadows in Paradise, and the rest of his films, is the use of music as an expressive vehicle that puts counterpoint to the deep internalization of feelings that flaunt their characters. This breaks with the realistic strokes, although one can argue that live music in Kaurismäki's characters as choice. In short, there is a music that requires the operator, but that sounds totally integrated into the stories of characters who are in music expressive clarity that they are unable to print to their dilapidated speeches. This is not without some irony that opposes the commercial speech the very existence of the characters.
Since ancient Greece music accompanying gestures and words with the intention of defining a character or psychological impact in situations of fear or joy, to give two widely discussed feelings. Kaurismäki's geography, mainly working class and workers, the music is very important, especially the music more rooted in the people. rock sounds, especially Anglo identified by a libertarian spirit and rebellious, loud in his film Leningrad Cowboys Go America parody of the American dream and road-movies so much like the director. Kaurismäki reemprendería years later his relationship with rock film in the film Leningrad Cowboys Meet Moses and as in the filming of a concert ( Total Balalaika Show) and several video clips of the Lenigrand Cowboys Finnish rock group that gave wings. It also highlights the popular music Finnish or Russian, unknown to me, but with great vividness. Also the blues (listen to John Lee Hooker Shadows in Paradise), rooted in the gritty work and exposure to penalties, lost loves, almost always serious and nostalgic, which overlaps well with the universe of director of Orimattila. stresses in Castilian Carlos Gardel, Argentine singer known citizen tango, singing Tell your eyes in Shadows in Paradise . Classical music is also present, but always in the background. Most significant about the musical choices of Kaurismaki is the last scene from the movie The girl match factory where Kati Outinen, after committing several murders, turns on the radio and it sounds a piece of Tchaikovsky. Immediately rejected the Russian composer. Change station and starts playing a song Olavi Virta, a popular Finnish singer named The King of Tango. A music that better reflects your mood, closer and understandable, and whose lyrics say so all unlike scores Tchaikovsky, more abstract to express pain.
However, most musicians are anempáticas and cause some sleepless nights, serving as a counterpoint of sound and emotion causing adverse to images. It then creates an ambiguous situation in which it appears that the director increases the fatalism that seems to overshadow the characters. Like the dialogue, the music does not seem to get along with the image, sometimes erecting a resounding anti-climax in which the song is the denial of a scene that should be the romantic climax of any conventional film. The director disarm the public mocking of love and bothering those seeking a brief escape.
In line with the happy ending so characteristic Kaurismäki, the end of Shadows in Paradise is an example of parody that runs some scenes from the movie. A happy ending to be sent to different degrees of tragedy or hope in Ariel, but not in the third part of the trilogy, The girl made of matches, although reappear in Drifting Clouds, A Man Without a Past, Lights in the Dusk, hired a hired murderer, etc. Deleted from a final stroke to mix certainly a hint of happiness with a large residue of bitterness and fatalism as broken dreams. This stratagem, joker for the viewer conventional manual violates the classic genres and corrodes baba a bad mood and atmosphere they should be charged with a romantic calm. All with one foot in the black comedy in which we laugh at times that you should ask is laughing really.
His few statements leave no doubt and can be considered quite reactionary, more typical of times when sound films Chaplin was gaining ground and protested angrily. "In fact, the film is just a play of light and shadow. The spoken word, dialogue, are an unnecessary novelty added later, the same as or cinemascope movies third dimension. In my capacity as an environmentalist, I consider that the less dialogue in a movie has less needlessly pollutes the atmosphere. "
In this position you can see a criticism of the abuse of the word and the stagnation of the narrative film, so advanced Murnau's Sunrise and so static in the decades since, well below their potential today and more developed. Still, it seems incongruous to disregard the word and its significant power and give the music, sung word, as important as does the Finnish director. Maybe it's a personal position before the world and especially the contemporary cinema, often a pure, traditional paved and bombastic words that are not certified purity of feeling whatsoever. Against this, silence Kaurismäki shows a demand mercy and common sense. His universe is an umbrella against the rain of slogans, basting sad dreams a reality sterile always disappointed. The words do not mitigate the helplessness of the characters, only the noble and sincere gesture. Kaurismäki chosen, Shadows in Paradise, a true exercise in ecological and sincere.
Both Kati Outinen, Matti Pellonpää like other actors, boast a dry dialogues that do not add a great deal of information. The creation of the characters is more related to their gestures, the atmosphere, small actions and their occupations, thanks to a story spoken and thought in the viewer. Dialogues that ultimately only of interest to the characters and do not include the figure of the spectator, a mere voyeur. So do not force the dialogues explanatory speeches. If this is coupled with the paucity of shyness and his players some explicit words.
- Can we live with your money?
- Small potatoes
- Okay then
- Where do we go?
- There are those cruises to Tallinn
- I'll get my coat.
Nevertheless, none of them seem to be too many illusions, capable of utilitarian role they may have on this story while undaunted in their development. It's not time requirements: everyone must accept the role assigned to it and forget any chimera. This just shines today. A dialogue is also purged of all rhetoric and fueled by the insecurities of characters abused, emotionally unstable and labor. Not give rise to subterfuge and born of a certain ill-concealed primitivism, with a hint of affection very buried. One idea is making its way, the flight, where they can be reborn from the ashes and re-dream believers. A topic bathed in fatalism and pessimism. She missed the plane to Florida, and says he has already seen too much to hold false hope of change in another setting. Either way, your aunt did travel to Florida and only saw some Finns and Donald Duck, perhaps because it was not censored (in Finland a few years ago decried Donald Duck not wearing pants). Just saw some Finns ... evidence that life provides different as you use glasses and her aunt could not see past it was chained to a deterministic view. Nevertheless, Kati Outinen trip gives hope to materialize by the end of the film, regardless of the destination too, finally Tallinn, as it does not matter what they leave behind. Such escapes are also revealed as a political response Kaurismäki obvious discontent with the way the Finnish government was running the country.
His narrative, and produce a simple effect contrast, demonstrates the futility of some statements against the facts, hard cash. The reality, the actions that we see, become change and words are unable to represent the change in righteousness and say no arrest him. Perhaps that is why Kaurismäki opt for silence on many occasions. Concise sentences, almost as silent subtitles. The construction of these dialogues and their intermittent confer a particular rhythm to the film that combines a sense of immobility with a rapid staging of the situations in bursts of words, mostly opaque. Are they real? Surely not describe a reality constructed in our imagination, closer to the idea of \u200b\u200bFaulkner that the best fiction is far more real and that any attempt to approach from a plane target. Perhaps we are accustomed to in excess of these dialogues as well outlined and calculated that closer dialogue as Kaurismäki seem bored, underutilized, as well as surreal. Dialogues that put voice to the silence and say more for what they do not say that what they say. Dialogues fleeing condensation feelings to the letter, not in vain Kati Outinen and Matti Pellonpää working hours, no time to wear their feelings and market to them, not a court of screenwriters behind. On the contrary, simplified verbalize their feelings and bathed in disappointment. The sentences are straightforward, such as punches thrown by a boxer trapped and lost the match points.
The conflict was revealed in the tortuous alignment of two characters need to be able to reason their needs. If I had to find a definition for the characters of Kaurismäki, in particular for Matti Pellonpää and Kati Outinen, anti-heroes would be loaded with a large latent sensitivity, but suffer from a huge emotional paralysis, prone to depression and helplessness, and severe communication problems. Without a dazzling good looks or intelligence. They are also characters who carry the rejection in their lives and a lack of interest. Yes, both feels alone and empty , but strive not to print a change in their lives, rather they just keep dreaming of stereotypical lifestyles as fade away.
In most Kaurismäki films and Shadows in Paradise is no exception, perhaps the most obvious starting point, a number of situations that are a cross-cutting and repeated: visits to the prison, interrogations in which the character is dealt with ruthlessly by the police, regardless of the context and injustice to be endured, the beatings with which Kaurismäki flatters his characters, often free, metaphor his vision of life, and music ...
One of the most momentous of Shadows in Paradise, and the rest of his films, is the use of music as an expressive vehicle that puts counterpoint to the deep internalization of feelings that flaunt their characters. This breaks with the realistic strokes, although one can argue that live music in Kaurismäki's characters as choice. In short, there is a music that requires the operator, but that sounds totally integrated into the stories of characters who are in music expressive clarity that they are unable to print to their dilapidated speeches. This is not without some irony that opposes the commercial speech the very existence of the characters.
Since ancient Greece music accompanying gestures and words with the intention of defining a character or psychological impact in situations of fear or joy, to give two widely discussed feelings. Kaurismäki's geography, mainly working class and workers, the music is very important, especially the music more rooted in the people. rock sounds, especially Anglo identified by a libertarian spirit and rebellious, loud in his film Leningrad Cowboys Go America parody of the American dream and road-movies so much like the director. Kaurismäki reemprendería years later his relationship with rock film in the film Leningrad Cowboys Meet Moses and as in the filming of a concert ( Total Balalaika Show) and several video clips of the Lenigrand Cowboys Finnish rock group that gave wings. It also highlights the popular music Finnish or Russian, unknown to me, but with great vividness. Also the blues (listen to John Lee Hooker Shadows in Paradise), rooted in the gritty work and exposure to penalties, lost loves, almost always serious and nostalgic, which overlaps well with the universe of director of Orimattila. stresses in Castilian Carlos Gardel, Argentine singer known citizen tango, singing Tell your eyes in Shadows in Paradise . Classical music is also present, but always in the background. Most significant about the musical choices of Kaurismaki is the last scene from the movie The girl match factory where Kati Outinen, after committing several murders, turns on the radio and it sounds a piece of Tchaikovsky. Immediately rejected the Russian composer. Change station and starts playing a song Olavi Virta, a popular Finnish singer named The King of Tango. A music that better reflects your mood, closer and understandable, and whose lyrics say so all unlike scores Tchaikovsky, more abstract to express pain.
The music is almost as important as any character and has a clear role: to alter and generate emotions to offset the clean, minimalist style of its director, and help start the film. Reacted to the viewer and plays with the meaning and significance of history, very often from parody and cynicism. Kaurismäki seems to follow a scheme that violates gender mocking ( happy end, romantic comedy, etc), eating away the codes to force hoodoo. It is an empathic listening, sometimes it is consistent with the narrative of images and time. Probably redundant, but we must not forget that music does not sound to viewers. It is a balm for Matti Pellonpää and Kati Outinen. A song, by way of example, with frank intent and showing melomania director, is found in Ariel, second film in the trilogy, when the protagonist seeking employment being rejected everywhere and background sounds WPA Blues Casey Bill Weldon. A song composed in the era of New Deal , denouncing the back of the massive occupation of the unemployed that the administration of Franklin Delano Roosevelt was taking place.Olavi VirtaHow could you convert all of my wonderful dreams in vain fantasies?
Now my eyes have seen the cruel and cold land.
The fragile flower of love has faded and the ice has destroyed my faith.
When one gives everything and just get disappointed,
the memory lane is increasingly hard to bear. Now
not shine the flower of love. Your
icy cold eyes and your smile have killed
However, most musicians are anempáticas and cause some sleepless nights, serving as a counterpoint of sound and emotion causing adverse to images. It then creates an ambiguous situation in which it appears that the director increases the fatalism that seems to overshadow the characters. Like the dialogue, the music does not seem to get along with the image, sometimes erecting a resounding anti-climax in which the song is the denial of a scene that should be the romantic climax of any conventional film. The director disarm the public mocking of love and bothering those seeking a brief escape.
In line with the happy ending so characteristic Kaurismäki, the end of Shadows in Paradise is an example of parody that runs some scenes from the movie. A happy ending to be sent to different degrees of tragedy or hope in Ariel, but not in the third part of the trilogy, The girl made of matches, although reappear in Drifting Clouds, A Man Without a Past, Lights in the Dusk, hired a hired murderer, etc. Deleted from a final stroke to mix certainly a hint of happiness with a large residue of bitterness and fatalism as broken dreams. This stratagem, joker for the viewer conventional manual violates the classic genres and corrodes baba a bad mood and atmosphere they should be charged with a romantic calm. All with one foot in the black comedy in which we laugh at times that you should ask is laughing really.
women are whores killer, Max, are stiff with cold monkeys contemplating the horizon from a sick tree are princesses who are looking for you in dark, crying, searching the words can never say. The mistake we live and plan our life cycles.
Roberto Bolaño. Putas killer
Think of some things, things that live inside you or not Maybe, you have to think about them because if they do not think we run the risk of finding them, one by one, in memory. That is, think for a moment, a good time, every day and several times a day until the mud coat with a crust impassable.
Samuel Beckett. The drive out or
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