Finnish master Aki Kaurismäki’s latest film Fallen Leaves, at its heart, is a simple love story between two working-class people, who are struggling to stay afloat. Kaurismäki uses his minimalist style as well as his signature cinematic elements such as wry humour, music, dog, bars, cinema halls, and cafes to turn this tragic-comedy story into that of hope.
In the not-so-charming part of Helsinki, two lonely people — Holappa (Jussi Vatanen) and Ansa (Alma Pöysti) — notice each other on Friday evening at a karaoke bar while chilling with their friends. They remain strangers until another chance meeting. After losing her job at a supermarket for taking an expired bread, Ansa finds a cleaning job at a bar. On the payday, its owner is arrested leaving Ansa uncertain about what to do next. Realising her helplessness, Holappa, who happens to be present there, offers to buy her coffee and cake. Later that day, they go to a theatre and watch The Dead Don’t Die by Jim Jarmusch.
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Before they go back to their pads, Ansa gives Holappa her telephone number, which he quickly loses. The promise of romance blossoming between them is thwarted. After a series of missed connections, when they finally meet again, Ansa invites him home for dinner. This meeting ends with disappointment as Ansa realises that Holappa has a drinking problem. Having lost her father and brother to alcoholism, she refuses to accept this. This derails their budding romance, once again.
Fallen Leaves is a simple story told simply. But it is rich in details and nuance. When Holappa is expected for dinner, Ansa goes to the store to buy a single plate and fork. This moment highlights her solitary life, apart from her financial troubles. The only companion of Ansa, who lives in a tiny apartment that she inherited from her godmother, is a radio. The radio news is a reminder of the Russia-Ukraine war. Adding to the gloomy mood are the war updates such as a strike on a maternity and children’s hospital in Ukraine’s Mariupol. Upset and angry, Ansa exclaims “bloody war”.
Watch Fallen Leaves: trailer here:
As Holappa is drifting from one job to another, he is looking for an anchor. Ansa offers him hope. As one would have noticed in several Kaurismäki movies such as I Hired a Contract Killer (1990) and Drifting Clouds (1996), his female characters are more assured of themselves and know what they want. They are not man-boys waiting to be rescued by a woman. But more like lonely souls looking for love and ready to offer love. And yes, in Kaurismäki’s world love-at-first-sight is a recurring phenomenon.
When that happens, it is upto the female protagonists to offer a helping hand and clarity to their romantic interests. Ansa is no different. After making her stand on alcohol-addiction clear to Holappa, she finds a new love, a furry one. She adopts a street dog and names him after a film personality (Let the name be a surprise for those who are yet to watch the film). Dogs as well as subtle and non-so-subtle hat-tips to masters of cinema are constants in Kaurismäki’s movies. They also serve as agents of hope. Fallen Leaves is a beautiful reminder of that.
Notwithstanding the grim setting, the triumph of Kaurismäki’s storytelling is to highlight compassion, friendship and humanity. Playfulness packed in the pithy dialogues often adds a charming layer to the story. With deadpan expressions — typical of characters inhabiting the Finnish master’s world — Ansa and Holappa engage in rapartee. Their sadness never overwhelms the film’s vibrant tone. When Holappa heads to a Karaoke bar with his friend, who is wearing sunglasses even though it’s dark outside, one can feel their optimism. That optimism is not misplaced as Holappa lays his eyes on Ansa that evening.
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