“Fallen Leaves” – Too far from the tree [MOVIE REVIEW] – Easy Reader

“Fallen Leaves,” the much lauded Finnish entry for the Academy Awards by cult director Aki Kaurismäki, is both more and less than it appears to be. Now keep in mind, there are many things that color a reviewer’s interpretation of a film, not the least of which is mood, anticipation and reputation. I must admit there have been more than a few times when a bad mood or lack of sleep has influenced my view of a film; reputation, or what others already think, less so. Nevertheless, I was anticipating a love story of somewhat epic proportions about two people from the margins of society finding each other against all odds. What I found was something else, something you probably won’t read about elsewhere. I did not, however, find a love story of epic, or any other, proportions. 

As has been much talked about recently, the Finns are reputedly the happiest people on earth. From the very first moment of “Fallen Leaves,” Kaurismäki seems to have taken that statement and determinedly placed it on its ear.  We meet Ansa (Alma Pöysti), a grocery stocker, going about her mind numbing routine. She does her dead end job diligently but is soon fired by her officious boss. The slovenly security officer has ratted her out for “stealing” an expired yogurt, a product that has been left on the shelf and could result in penalties against the store. But the shop steward wants to make an example of her and dismisses her on her way out the door. Her two friends and colleagues quit in solidarity (also confessing to taking out of date products). Ansa, stoic, rarely cracking a smile throughout, returns to her small home and menial existence. Responsible, industrious, unflappable, she has soon found a new, back breaking, low end job in a factory moving piles of dirty something into larger piles of dirty something. But she has a job and she works to live.

Nearby, Holappa (Jussi Vatanen) mans the pallet jack that moves ceramic pots from site to site in his factory. The low end job at least provides a bunk and hot food. But Holappa is an alcoholic and can’t resist a nip between trips. Despite warnings from his friend Huotari (Janne Hyytiäninen), he tipples once too often and is fired, losing not just his job but his bed and board. A new job is found but his alcoholism again interferes and he’s out on his ear, or another part of his anatomy, again.

Jussi Vatanen as Holappa. Photo courtesy of MUBI.

Pulled into a night out with Huotari at a karaoke bar, Holappa spies Ansa with her friends. He is instantly smitten. What follows is a series of near misses, longing, loss and finally connection. They make a date to go to the movies at the local cinema where they see a Zombie movie…not exactly romantic first date material. Still, she gives him her number; whereupon he promptly loses it. Close ups of both indicate the longing they feel underscored by their loneliness. Eventually they reconnect and head toward the horizon, hand in hand.

Jussi Vatanen as Holappa and Janne Hyytiäninen as Huotari. Photo courtesy of MUBI.

There are certainly the elements of a love story here. Longing, loneliness, loss and connection. But, despite the premise that love conquers all, there are so many inexplicable issues. Yes, these are two lonely people but despite the commonality of being from the underclass, she is beautiful, serene and industrious. If she is single because she is picky, Holappa would not be anyone’s definition of a dream date. He’s scrawny, uninspired, totally lacking in ambition and an alcoholic. Even giving up alcohol for her, cold turkey by the way, only eliminates one of his unattractive straits.

Intended or not, I found this film full of humor. Kaurismäki chose working class locations in Helsinki revealing an exploited underclass that flies in the face of the “happiest people on earth” advertisement. The cinema that Holappa takes Ansa to is an art house theater with posters of classic films such as “Brief Encounter” (no doubt underscoring the haphazard nature of their meeting and love), Godard’s “Pierrot le Fou” and “Melville’s “The Red Circle.” The film he takes her to is the Jim Jarmusch Zombie movie “The Dead Don’t Die,” not exactly a classic in comparison to the advertised posters. Adding credence to my contention that this is a comedy, intended or otherwise, are the audience members leaving the cinema who proclaim this as a masterpiece akin to Melville’s “Diary of a Country Priest.” You don’t have to have actually seen “Diary of a Country Priest” (which I have) to grasp how ludicrous such a supposition would be. Something that also came to mind as the camera zeroes in on a perplexed Ansa watching zombies approaching a nonplussed Bill Murray with a shotgun was the scene in Scorcse’s “Taxi Driver’ when Travis Bickle (Robert DeNiro) who has taken a horrified Betsy (Cybill Shepherd) to a porno flick in Times Square asks her how she likes it. Perhaps not an apt comparison but I’m not sure “The Dead Don’t Die” would have been on anyone’s first date list. 

Alma Pöysti as Ansa and Jussi Vatanen as Holappa. Photo courtesy of MUBI.

Holappa continuously misses opportunities to meet up with Ansa who eventually breaks it off  because of his alcoholism.  Calling to let her know that he is sober, she invites him over to her house. He leaves his hostel and walks smack into a tram, missing his date once again, although this time a near-death experience and hospital stay seem to be a legitimate reason for such a star-crossed lover. Kaurismäki, once again, uses a classic movie reference. One of the greatest filmic love stories of all time, “Love Affair” starring Charles Boyer and Irene Dunne, mirrors the missed rendez-vous scenario. Agreeing to meet at a specific time and place, the Dunne character is hit by a car while crossing the street and is sent to the hospital leaving a perplexed and angry Boyer, believing himself to be betrayed, to brood until the mystery is solved and love triumphs once again. 

Holappa and Ansa are reunited at the hospital as she monitors his recovery. In the end they walk off through the fallen leaves of Autumn toward the sunset and a future together, whatever that may be. 

If Kaurismäki intended this to be love among the lonely and poor, he hasn’t made that case to me, although apparently I’m an outlier. If, however, this was his send up of pretentious arthouse movies and incredulous love stories of women with prospects who choose men without, then he has succeeded masterfully.

In Finnish with English subtitles.

Now playing at the Laemmle Royal and the AMC Santa Monica.

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