Ariel (1989)

88% of users liked it
(1,004 ratings)

Finnish filmmaker Aki Kaurismäki may not have become a household name in arthouse circles until the U.S. release of Match Factory Girl in 1992, but by then he had already established an international reputation with Ariel, which was named the Best Foreign Language Film of 1991 by the National… More Finnish filmmaker Aki Kaurismäki may not have become a household name in arthouse circles until the U.S. release of Match Factory Girl in 1992, but by then he had already established an international reputation with Ariel, which was named the Best Foreign Language Film of 1991 by the National Society of Film Critics. A series of unfortunate events befall the film's hero, Taisto (Turo Pajala). First, he loses his job when the mine closes down. A suicidal friend gives him a car, and Taisto takes all his money and heads to the city to find work. He's quickly robbed by a couple of thugs, and shows up in town with no money and no job. Soon, he meets Irmeli (Susanna Haavisto), a resourceful divorcée who works a wide variety of jobs to support her young son and pay off their mortgage. "Will you disappear in the morning?" Irmeli dryly asks on their first night together. "No," Taisto responds emotionlessly, "We'll be together forever." Unable to find work, Taisto tries to sell his car. But then he runs into one of the men who robbed him, who pulls a knife on him. Taisto manages to disarm the man, and is subduing him when the police arrive. Taisto is convicted of assault and attempted robbery. He winds up in a cell with Mikkonen (Matti Pellonpää), who is in prison for manslaughter. He claims he's innocent, but tells Taisto that by the time he gets out of jail, he "won't be able to go three hours without killing someone." When Irmeli comes for a visit, Taisto impulsively proposes, and before long, she's helping him and Mikkonen plot their escape. ~ Josh Ralske, Rovi

Rating, Runtime: Unrated, 1 hr. 14 min.
Directed By: Aki Kaurismäki
Genres: Drama, Action & Adventure, Romance, Art House & International, Comedy

In Theaters: Oct 21, 1988 Wide
On DVD: Sep 23, 2008

Critic Reviews

Anton Bitel, Eye for Film
a compelling blend of gritty realism and escapist fantasy

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Featured Audience Ratings

Stefanie C

Signature imagery and themes, delivered with deadpan humor, this is my favorite Kaurismaki film. Subtle, yet hilarious!
Anthony L

A great film but it leans towards 'Rebel without a cause' territory towards the end, it's certainly not as touching as Shadows in Paradise or The Match Factory Girl as sympathy for the main character is lost as he fights back. Matti Pellonpaa's supporting… More
A great film but it leans towards 'Rebel without a cause' territory towards the end, it's certainly not as touching as Shadows in Paradise or The Match Factory Girl as sympathy for the main character is lost as he fights back. Matti Pellonpaa's supporting performance really steals the show but Turo Pajala plays the archetypal 'Blue Collar worker' well. It's a great film but no where near as good as the other two films in the 'Underdog' trilogy.
Walter M

"Ariel" starts with a mine closing for the last time in northern Finland. An old man shoots himself, leaving his son Taisto(Tujo Pajala) the inheritance of a convertible whose top will not close. He takes his life savings and heads south looking for work but all he finds… More
"Ariel" starts with a mine closing for the last time in northern Finland. An old man shoots himself, leaving his son Taisto(Tujo Pajala) the inheritance of a convertible whose top will not close. He takes his life savings and heads south looking for work but all he finds is trouble in the form of all of his money being stolen. Employment at the docks is intermittent which gives him the money to stay in a shelter. At least things are looking up when he meets Irmeli(Susanna Haavisto), a divorced mother. Unlike more recent Aki Kaurismaki movies I have seen, "Ariel" is not much of a comedy and actually pretty grim in spots which results in predictability at times. The different tone is not a bad thing per se, as it sets the stage for a powerful depiction of what it means to live on the margins when there is no work to go around. It might not be the economic situation as such since Irmeli might be monopolizing half the jobs in Finland. Then again, she has to in order to support herself and her son.