Ariel

Aki Kaurismaki
1988

"Ariel," the second installment in Kaurismaki's proletarian trilogy, continues in the same quirky stylistic vein as the previous "Shadows in Paradise," but also stretches the thematic content a bit by being something of a caper film as well. The local mine's just closed forcing Nordic bumpkin Taisto to empty his bank account and head to Helsinki in a permanently borrowed Cadaillac land-barge. He's divested of his money through naivety, and winds up living in a flophouse doing shitty jobs when work is available. An unfortunate revenge assault lands Taisto in prison, where he plots escape from the clink and Finland altogether with his newfound widow love interest. Matti Pellonpaa returns to the trilogy as Taisto's awkward and thuggish cellmate who's nearly catatonic exterior belies a psychotic rage beneath. The humor is as tight as ever, though the romantic angle comes off forced. The switch from down-and-out loser slice o' life to comedy crime film is a completely unexpected treat that manages to remain firmly affixed to Kaurismaki's trademark tone. Like "Shadows in Paradise" this one ends with an escape as well, albeit more desperate, and one is left to wonder if Finland can possibly be as soul-crushingly banal and depressing as the director's take on it.