For a world that's increasingly globalized yet also increasingly fragmented, The Man Without a Past resonates deeply as a bittersweet fairy tale, resplendent with the hope of salvation.
The Man Without a Past (2003)
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Reviews Counted:92
Fresh:90
Rotten:2
Average Rating:8/10
Consensus: Kaurismäki delivers another droll comedy full of his trademark humor.
Theatrical Release:Apr 4, 2003 Limited
Box Office: $794,306
Synopsis:
The Man Without a Past delivers a new edge to the story that stirred viewers all around the world in Drifting Clouds. Without sidestepping bitter issues, one could paint an image of a small country...
The Man Without a Past delivers a new edge to the story that stirred viewers all around the world in Drifting Clouds. Without sidestepping bitter issues, one could paint an image of a small country in the North in a touching, amusing, and liberating way.
At the beginning of this new film, a man (Markku Peltola) has travelled to Helsinki in search of work, gets mugged, loses his memory, and has to start completely anew, from scratch. He discovers love (Kati Outinen), and is forced to discover values with which man will not be ashamed to live. A small story about people who still know how to be gentle, an enormous cinematic experience.
The themes contain a translucent beauty, cross-lit in a confusingly rich manner by the direction. In the case of expression, the author takes the biggest risks, and wins. We know, ultimately from Juha (1999), the last silent movie of the 20th century, that Aki Kaurismäki is a rare breed of a portrayer of the border area, between the urban and the countryside, the privileged sector of the class society and the margins of Finland, sentenced to anonymity. Kaurismäki’s portrayal of subservience contains dignity (neither pompous nor heavy-hearted), humour, a touch of melancholy (not far removed from the style of Chaplin), and an excellent understanding of the lot of his subjects, a lot that most probably is irrevocably at the bottom, but one that also possesses its own rebellious delights as well as room for one's own self. The choice is a proud one, too, as power and domination seem to corrupt always and absolutely. The ethics and style of Aki Kaurismäki are strongly related to several of the giants of cinema who have shown as well an absolute and most boundless respect for man by the creation of such a precise way of expression and such a cinematic style, with respect visible in every frame, through the means of pure cinema.
Aki Kaurismäki has created a film in which the daring and powerful scale of form, colours and means of expression indicates a fine awareness of tradition in relation to both Finnish and European cinema, and a bold new stylistic move in his own world. -- © Sony Pictures Classics
Starring: Markku Peltola, Kati Outinen, Sakari Kuosmanen, Juhani Niemela
Starring: Markku Peltola, Kati Outinen, Sakari Kuosmanen, Juhani Niemela, Kaija Pakarinen
Director: Aki Kaurismäki
Director: Aki Kaurismäki
Screenwriter: Aki Kaurismäki
Producer: Aki Kaurismäki
Studio: Sony Pictures Classics
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Reviews for The Man Without a Past
[Kaurismaki's] a humanist bearing witness to the human parade. To be part of that parade is to be touched by his perspective, and to have your world altered -- magically, fleetingly, memorably.
This underclass fable is slight, finally, but its miserable/waggishly optimistic worldview leaves you feeling a little more alive.
Leaves us to admire the technique and the music without giving us much more to care about.
The film is sporadically hilarious in a chilly, unemphatic way. But for what may be the first time here, Kaurismaki also seems to be genuinely enamored of every mushy, underlying sentiment he might once have held up to withering examination.
Offers up a subversive comic sensibility, one that somehow combines Buster Keaton's deadpan stare with Frank Capra's tireless optimism and filters them both through a black-ice Finnish point of view.
In vibrant color, accompanied by mutated Finnish rockabilly and possessed by Kaurismaki's trademark bleak hilarity, it includes all the deadpan delivery, heavy drinking and bad luck of his earlier films.
Hopeful about the ability for man to persevere in a capricious world.
Offers a surprisingly touching and simple story about human dignity in the most trying of circumstances.
An understated but weirdly grabbing portrait of a man who loses his memory after being mugged and cobbles together an alternative existence with minimal means.
Although this 2003 Oscar nominee didn't take the golden boy home (Nowhere in Africa got it instead), this is definitely a film with a great future in the art-house circuit.
| Tomatometer Percentage | Movie |
|---|---|
| 66% 66% | Public Enemies |
| 83% 83% | Harry Potter and the H… |
| 44% 44% | Night at the Museum: B… |
| 75% 75% | Julie & Julia |
| 32% 32% | Terminator Salvation |
| Tomatometer Percentage | Movie |
|---|---|
| 88% 88% | Inglourious Basterds |
| 78% 78% | The Hangover |
| 49% 49% | Taking Woodstock |
| 26% 26% | The Goods: Live Hard, Sell Hard |
| 47% 47% | The Girl From Monaco |
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