ada the leading man is my tpye

Diagonaldi Very well executed

Listonixio Fresh and Exciting

Frances Chung Through painfully honest and emotional moments, the movie becomes irresistibly relatable

WakenPayne If this was the first introduction I had to Finland's film industry - I probably would not revisit it. This actually is about the 8th Finnish film I have seen and some of them happen to be their submissions to the Academy Awards, If the Academy is saying this is better than Talvisota then I will laugh in their face - Talvisota is much more deserving of the nomination (just comparing this to my favourite Finnish submission to the Academy).Sorry for just yelling my head off at you people - it's just that this happens to be Finlands most overrated film (I have seen Tuntematon Sotilas - although I liked it, that was heavily overrated in Finland).As far as defining genre goes this is as mixed as mixed bags will get. This movie is unfulfilling when it comes to a comedy, it would have gotten a 1 if it didn't have any other genre though. As far as Drama films go - it is decent enough (although I prefer dark and grim dramas). Judged on a comedy: 1/10, Judged on a drama: 6/10.One of my other criticisms besides the overrating (I am NEVER going to let this drop) is definitely the endless soundtrack. There is NO SCENE IN THE ENTIRE FILM WITHOUT MUSIC PLAYING. I thought lack of music scores made movies slow - now I learn it is also on the opposite side of the scale too.If people are willing to defend the film (which to attack someone because they don't have your opinion is pointless) then look at these following Finnish films that are (in my opinion) superior: Jadesoturi (2006) (name one person who has made a movie like that), Talvisota (1989) (The most realistic War film I have EVER seen), Tuntematon Sotilas (1955/1985) (Both are very entertaining movies - even if the remake is incredibly slow), Sauna (2008) (it's a very interesting little art-house/horror film), Harjunpää ja pahan pappi (2010) (Crime/Drama/Thriller with possibly the best acting I have ever seen), Rare Exports (2010) (just appeals to the bizarre person inside me that wants to see a rather ingeniously written Psycho Santa - I should get out more).So I would recommend it to people who want to see the only Finnish film nominated for an Oscar - but that is about it.

imitsi The film is about a man who gets amnesia after being attacked by a group of thugs in Helsinki. He becomes part of a community of underprivileged workers who assist him in building his life together.I can't decide whether there was something wrong with the acting or it was an accurate interpretation of Finnish mannerisms. The acting appeared a bit stiff and silent, and there wasn't a single smile throughout the film - even in situations which were meant to be funny. Having said that, there is a warmth and humanity coming out of these austere characters - just not the way we're used to. The cinematography is great, with stunning visuals of the gritty Helsinki suburbs. It is not a masterpiece, but if you are a fan of international cinema you will enjoy watching it.

natehaustein Aki Kaurismäki's The Man Without a Past tells the story of a goodhearted man trying to recreate his life after developing amnesia. His search for work, love and answers takes place in the Finnish city of Helsinki, where M (Markku Peltola) finds out the way he truly wants to live.Peltola does a convincing job at playing a man without a past. There is a considerable difficulty in creating a memorable persona for a role in which the character has none prior. Peltola keeps everyone guessing, including himself, by allowing the character of M to develop slowly throughout the film, learning from his new experiences, adapting to the current situation and never relying on mannerisms or information created outside the film itself. The audience is able to share the journey, and our sympathy for M's situation is heightened. The film addresses the actions of people and their disparities quite clearly. The story starts with M being brutally attacked in the dark night of Helsinki, then mugged and left for dead. For a first scene, the plot doesn't do much for creating a positive view of the city, or of Finland itself. However, Kaurismäki artfully crafts his story to bring the characters (and the audience) down to the very depths of despair, only then to bring them back up to a feeling of affirmation for humanity. Because he struggles with his identity, every encounter is a new one for M, and he is only shown compassion by many of those he meets. People give what they can and make an honest effort to help M make the transition into a new life. Iron-fisted landlords bend the rules, preeminent lawyers defend his rights,and even a bank robber turns out to be altruistic in his plight.A concerning part of all this compassion, however, is the manner in which it is presented. Finns are portrayed as, well, very Finnish. Emotions are kept in check, and not much is ever outwardly expressed as appreciated as so much necessary. Still, the human side of an outwardly stern community can be felt with a certain energy. People band together when they need to, and give the support that those like M need at the moment to survive.A part of this survival is not so much physical for M, but emotional as well with the Salvation Army worker Irma (Kati Outinen). Shortly after M receives the communal assistance and compassion from those around him, he too feels the need to share it with someone, in his case, a woman. The relationship between M and Irma could be described as cute to some: a pair of middle-aged adults attempting their very best shot at a youthful romance. The simplicity of their relationship, with walks in the woods, rides in cars, and home-cooked dinners is heartwarming, and gives a glimpse into the sincerity the two share for the comfort and security afforded by their relationship. The two merely want to be happy, and they do their best to participate in the love that brings them to that destination.The Man Without a Past shows not only how a man can choose to live, but also how he can change. The film presents the challenges of relationships, and the things that tear them apart. M receives a second chance, and in doing so, he perhaps subconsciously changes his way of life. Though he has no knowledge of his prior self, the decisions he makes after starting over may very well be influenced by the mistakes he had lived through before. In the end, Kaurismäki brings us full-circle, with the level of M's happiness showing the validity of his decisions in the new life he has created. All in all an enjoyable film delving into the culture and community of Finland that would be a great flick to see on a slower evening allowing you to take in the subtle interactions between it's vast cast of characters. 7 stars out of 10.

Josh Malay "The Man without a Past" is a movie without a future. This trilogy film which depicts the negative side of life in Finland is not only depressing to watch, but also depressing in its emotional let down. Finnish culture is inherently unemotional in expression and tends to only say what needs to be said, but in a film depicting such difficult aspects as homelessness, poverty, and amnesia it is an endlessly annoying aspect. The extensive use of Finnish culture and societal aspects, rather than adding to a unique film, creates a film that seems lost in confusing cultural and societal norms while adding an increasingly difficult aspect of 1950s Americana. These aspects of culture, society, and Americana serve to undermine and destroy an otherwise good film.The film "The Man without a Past" is an otherwise fascinating tale of a man who having suffered amnesia from a brutal robbery rebuilds a new identity and a new life until he is finally confronted by his past life. Depicting the hardships associated with Finnish males leaving home to find work in the city is seen through an interesting light by negating comparison to the past through amnesia. The main character, Jakko, whose name we do not learn until the end of the film (amnesia rendering him with no knowledge of himself or his past) is forced to rebuild his life through the charity of others and through this process he finds his true self and his true life. This unique aspect of hardship, despair, and incontinence seems a unique depiction from which to draw an ending of finding oneself, however, this is a very Finnish way of viewing life and is the only aspect of Finnish culture and society which adds to the film.Throughout the dialog between characters seems strangely wrapped in Shakespearian soliloquy, as they are short, poignant, and have a somewhat musical rhythm. Yet, in a film setting which is not based in the past or which is attempting to draw a Shakespearian feel this simply renders the characters confusing in their speech and creates a sense that the actors in the film are either of an extremely low quality or simply cannot act. In that a sense of emotionality, something that Finns are not know for portraying, is utterly missing throughout the film. This lack of emotion draws the viewer away from the film itself and renders them utterly confused and frustrated at trying to decipher what could be described as an excessive Vulcan complex, where pure logic and no emotion tends to render all humor, sadness, despair, love, and friendship as a confusing ballet of inept tinkering. This innate cultural aspect could be understood if the director's films were sought after in Finland, this not being the case however it leaves one wondering why it was included.Societal conceptions of basic ideals such as the welfare state, religion, and robbery are also compromised through the films very Finnish portrayal. In the film Jakko attempts to find work through the welfare state but is rejected for not having a name. Yet, rather than attempt to illustrate his problem to the official, he simply accepts the fact that without knowledge of his name he will not receive employment through the state and thus will be ineligible for assistance. After his rejection, Jakko returns to the Salvation Army which offers him work and creates an identity for him. This counter play between societal conceptions of the welfare state and religion seem to depict religion as being more open to assisting individuals regardless of their past, yet no one can move forward without the welfare state. This is seen in the final aspect of a robbery, which Jakko is a bystander to, which sees him attempting to open an account in order to receive funds from his employment with the Salvation Army. He is again denied on the basis of a lack of a name; even upon hinting that any name will do he simply says that he doesn't have a name. This heavy societal dependence on a sense of identity could be seen, if not for its Finnish nature, as depicting what is lost in the movement from one's home to an inter-land in order to find employment. Yet, giving its Finnish nature of conversation and unemotional basis one simply becomes confused and frustrated at Jakko's seemingly unwillingness to simply create a new identity. An unwillingness which would be understood to represent an individual's struggle with giving up themselves if not for the confusion of Finnish societal conceptions of rules and hiding one's true self from general perception by others.The final aspect of the addition of 1950s Americana to the film renders an already confused and belittled meaning to the film simply incomprehensible. Now not only is one confused by interactions of individuals but the setting too becomes a hodgepodge of misused icons of 1950s Americana which destroy any early conception of time and place which would help a viewer to understand the film. Rather one is left to figure out the significance of 1950s Americana to the film if any. The decade being one of the so called good-life in America, but with underlying problems which lead to the turbulent 60s. Yet, the director did not seem intent on drawing a parallel between 1950s America and present day Finland. The moving gave no depiction of unrest and ended on a note of acceptance of hardship and despair being the path to finding one's true self. Thus this indulgence seems to detract from the film more than add any kind of significance or affection for 1950s nostalgia.A film which would otherwise represent a decent film on the trials of the individual in finding himself or herself in the modern chaos which would have appealed to an unlimited audience is both detracted and lost in an overabundance of one culture, one society, and one's nostalgia.