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Released in 1986, Aki Kaurismaki's VARJOJA PARATIISISSA (Shadows in Paradise) is one of the Finnish filmmaker's earliest efforts, and it stands as one of the most idiosyncratic romantic comedies of all time. The painfully shy Nikander (Matti Pellonpää), a garbage man, means the moody Ilona, a supermarket checkout girl. The film tracks their bumbling attempt to establish a lasting relationship: dates that end as soon as they've begun, a romantic getaway where they each retreat to separate hotel rooms, and rare conversations which employ the absolute bare minimum of words. Nikander's best and only friend Melartin (Sakari Kuosmanen), whom the garbage man only recently met through a spell in jail, gives some needed encouragement.

The film's soundtrack is rooted in early rock-and-roll, though unlike later Kaurismaki films where the characters seem to be living in a 1950s bubble, all the action takes place in contemporary Helsinki. I've criticized Kaurismaki's vision of Finland in other films, but VARJOJA PARATIISISSA does, in my opinion, accurately depict the collection of gloomy, taciturn binge drinkers that are the Finns.

VARJOJA PARATIISISSA is an early work and doesn't show the confidence of later efforts, but it's still quite entertaining, its leads and their struggles extremely charming, and I would recommend the film. Certainly the performances of Pellonpää (in a typical Pellonpää role) and Outinen (who seemingly reinvents herself in every film) will prove quite memorable.

Finns have a strange sense of humor, if "Shadows in Paradise" is any indication.

Filmmakers Wes Anderson and Jim Jarmusch have both claimed that they have been heavily inspired by the films of Aki Kaurismaki, and it's easy to see that influence, especially in the case of Jarmusch. "Shadows in Paradise" is a comedy, but lots of people will watch it and not know that they're supposed to be laughing. It's about a garbage collector and his tentative romance with a cashier, both of them plain, inarticulate, and not especially pleasant people to be around. The film has a supremely dead pan tone that, if I'm being honest, gets a bit monotonous. But on the other hand, the movie is pretty short, so even if tries your patience, it doesn't do so for long.

I had recorded both this and another Kaurismaki film, "Ariel," off of TCM and watched them together as a sort of Finnish double feature. Afterwards, I wanted to watch anything that was bright and shiny and featured unrealistically attractive people.

Grade: B+

A simpleminded garbage man and a misanthropic supermarket checkout girl find the road to romance paved with ennui in yet another of Aki Kaurismäki's patented minimal mini-dramas. The prolific Finnish director pares down the love story to its most basic components: a man, a woman, and a mood of urban alienation shaded in tones of European gray. The film is entirely negligible, but that's (presumably) all part of its charm, and what passes for a plot is merely an excuse for Kaurismäki's deadpan comic ironies. It's easy to watch and even easier to ignore, looking like a rough sketch for a minor work by a filmmaker poised for bigger things.

Some random observations:

1. Kaurismaki's "paradise" is grimy city streets, garbage, landfills, jails, flophouses, shabby apartments. Two kinds of people inhabit this Eden: either the few, the snooty, the well off – or the subverbal, poorly educated quasi-lumpen stumbling about among the aforementioned sites. The settings, both exterior and interior, belong more to the England of "The L Shaped Room" or "Billy Liar" than to the Scandinavia of travel agency brochures.

2. Kaurismaki delivers virtuoso satire founded upon the stereotypical shy, wordless Finn. But he offers more by pushing beyond stereotype to display a deep familiarity with the kind of people he shows on the screen. An American director similarly so in tune with his people might be Kevin Smith. A possible British counterpart? Maybe Ken Loach.

3. "Shadows in Paradise" is also a testament to Kaurismaki's confidence in the cinematic medium itself, in its power to tell stories using sight and sound without principal reliance on the material of theater or literature – words. We are accustomed to the many films about how XX meets XY, where the characters express feelings, establish plot, indeed, do just about everything through words. Sometimes we even get entire orations, regardless of a film's "realistic" intent. Dialogue rules everything from the quippy screenplays of Nora Ephron or Preston Sturges to the tangly Gallic word-webs of Eric Rohmer. The similarities between Ernest Borgnine and Betsy Blair in "Marty" and Matti Pellonpaa and Kati Outinen in "Shadows in Paradise" end with "Marty's" theatrical, dialogue-soaked provenance. It would be hard to transfer this film of Kaurismaki to page or stage. The story would weaken and likely die in print or any exclusively verbal form.

4. For his comedy Kaurismaki employs a delay-deadpan technique, something familiar to anyone who has seen the "punishment" sequences in Laurel and Hardy's "Tit for Tat' (1935) or who remembers the standup routines of Jackie Vernon in the 60's. Kaurismaki's comedies – and "Shadows in Paradise" is a good example – prove the technique still achieves the desired result: laughs. And like Jackie Vernon or Laurel and Hardy, Kaurismaki makes his words just another ingredient in the comedy. They are well chosen and sometimes hilarious but enjoy no special preference.

5. The movie screened the other night on TCM with the host's caution that this is an unusual sort of romantic comedy – but why the caution? And why the need for any "category" in the first place? To call this a "romantic comedy" and then warn people about its "quirky" or "offbeat"nature does it a double disservice. The warning for possible category transgression either implies that the film is deficient for disregarding certain "rules", or cautions the audience that it will be disappointed, since the movie does things it probably won't accept. But comedy, like so many things in life generally, thrives on surprise. In "Shadows in Paradise", Kaurismaki presents modern, free, prosperous Finland as a bizarre and rather dismal place which he proceeds to mine for laughter and the occasional tear. Whatever a television host labels it, the movie manages to be funny, entertaining – and accessible.

6. A Kaurismaki movie has a distinctive "feel", as strongly trademarked as the comedies of Lubitsch or Sennett.

After a stunning debut, Crime and Punishment, and a bizarre, experimental second feature, Calamari Union, Aki Kaurismäki began doing what he's best at: telling the stories of Finnish underdogs'everyday experiences. And it all started with Shadows in Paradise, the first installment of the "workers trilogy" (continued with Ariel and The Match Factory Girl), and arguably Kaurismäki's finest film (at least until he made The Man Without a Past). It also marked his first collaboration with Kati Outinen, who has become the very symbol, alongside the late Matti Pellonpää, of Kaurismäki's cinema.

Fittingly, Pellonpää and Outinen are the leading couple of shadows in Paradise. He reprises the role of Nikander he previously played in Crime and Punishment, with more English lessons (which originate his best line, at the end of the film) and trouble at work: his plans to start his own business get buried with his associate (Esko Nikkari), who commits suicide five minutes into the movie. While looking for a new job, he meets Ilona (Outinen), who works as a cashier in a Helsinki supermarket. The two start hanging out, eventually forming a sweet, if platonic, bond, occasionally threatened by Nikander's apparent cynicism.

The film's magic resides entirely in its minimalism: little dialogue, sober settings, raw, Finnish humor, real, likable characters and no overacting, as Kaurismäki tells his simple, universal, incredibly touching love story. Pellonpää and Outinen's understated, affecting performances complete each other, with valuable support from Sakari Kuosmanen as Melartin, Nikander's best friend, who even steals from his own daughter to finance his buddy's dates. Not that his behavior is exemplary, but it shows how much these people care for each other, and that's where Kaurismäki succeeds: he makes us emphasize with these characters despite their many flaws, and delivers an astounding, memorable picture.

A true masterpiece of Finnish film-making, from the best director that country has ever spawned.

This is a minimalistic film showing the daily struggles of ordinary people. Since the theme is quite universal, it is no wonder then, that the film has aged so well. The issues discussed are still relevant. Two lonely people, Nikander & Ilona, who have a very hard life, try to make a go for it. Unfortunately, things don't go very well since they seem to have nothing in common. Money is always a concern & they have to borrow from friends if they feel like having a good time. But the good thing is that the said friends always come up with the money even if they have to steal from their child's piggy bank! Their hard life has left very little space for appreciating the finer things in life. Once when these ill-matched people try to enjoy themselves in a nice restaurant, the class-conscious maitre d' sends them on their way! The film very beautifully points out that there are some sections of the society who do not have much choice. And yet, the resilience of the human spirit is commendable!

The film has a few flaws too. The relationship between the protagonists goes on again off again so many times that after a point, I started to wonder if it's just a matter of convenience for the both of them or is it real love! Also, I felt that Ilona was a bit too selfish & antisocial.

Various visuals in "Shadows in Paradise" manage to speak more than thousands of words. In the spirit of "L'Atalante" and "Marty", "Shadows in Paradise" is a poignant love story that chronicles two likable characters' miraculous, romantic, and conflict-infested relationship. It combines the hilarious with the melancholic in a way that director Aki Kaurismäki had proved to master time and time again. His juggling of emotions is bathed in stark realism that lies within the film's colorful visuals.

The lead characters are not played by glamorous Hollywood stars, these characters are not the stereotypical fools usually present in romantic comedies. They are real, but still quite interesting, human beings. In the spirit of writers like James Joyce and filmmakers such as Charles Burnett, Kaurismaki finds beauty in everyday moments and people. While there are moments of fierce conflict in this film that can, in no way, be called "mundane", a vast majority of what occurs in "Shadows in Paradise" is highly normal and borderline bland. However, through these slight details, Kaurismaki is able to explore the depths of the human experience, as well as the hidden beauty within the everyman. This sweet, gentle, and darkly comic love story will impress both romantics and film critics.

A great look at Helsinki you'll never see in any travel brochure. I went into this movie blind--and found it fun in removing me from the here and now. The tone is noirish and deadpan---the actors perfect for the roles. All of it was sort of believable in a humorous way which is key to this movie.

The movie was made in 1986 almost 30 years ago so it involves some time travel as well.

I recommend it is the sort of thing I like although I would not probably rush to watch it again...

7---RECOMMEND

The foremost question is where there is here a paradise. Usually, the 30 - 40 years old Finnish men in Kaurismäki's movies look around 5o. They work hard, some of them night shift, in their scarce leisure time they sit in some bar drinking vodka and sometimes picking up a girl for a night or two. From Kaurismäki's movies, it seems that every man does do that, so that the patterns are also known to the women and therefore there is no need for further explanation. This is called Kaurismäki's minimalist style, and not seldom it leads to quite unexpected humor.

Nikander (lit. "Victory-Man"), the protagonist of "Shadows in Paradise", is one of these losers, but with the exception that he wants to change his situation and thus had started to learn English early. Together with his older colleague, he plans to open his own business. One day, his colleague is killed during work by a sadden heart attack. Nikander meets shortly after the pretty Ilona one of whose specialties is loosing her jobs. Now they start an in- and out-relationship. Ilona comes back to Nikander whenever she is in trouble, this time she stole a cash box filled with money from the supermarket that gave her the notice because the director's daughter needed a position and an apartment.

Marriage is always considered an arrangement amongst losers in Kaurismäki's movies. In "Ariel" (1988), Kasurinen and Irmeli just have two vacancies. In "Lights in the Dusk", the very beautiful Mirja, entering an almost completely empty restaurant, and sitting down at Koistinen's table, starts to speak very personally to him. When he tells her, they could now leave for a bar, then sleep together and afterward getting married, the two faces show no reaction. Is Paradise the reign or the absence of all bother, then paradise must mean, in Kaurismäkis movies the absence of any light that comes into the darkness of these losers, since this light could bring them down to a dark path.

Nikander is a garbage collector. He appears about 35-40 and lives alone. Ilona is a woman who keeps losing jobs. The two of them, inexplicably, start dating even though you never have an idea what motivates them or brings them together. And, once they are together, they soon part--and the Nikander sulks....I think. That's because when Nikander (and Ilona for that matter) is sad he looks and acts exactly like he does when he's happy or bored or asleep. Will these two very dull people find each other before the film ends? Will anyone care?

Imagine you took the film "Marty" or "Napoleon Dynamite" and sucked every last bit of energy out of them--then you'd have "Shadows in Paradise". "Shadows in Paradise" is a completely joyless film about two lonely people, who between the two of them, don't even have half a personality. As a result, they just seem to exist--and the viewer is stuck. Stuck because you cannot really care about them and stuck because the film seems to go on and on forever--even though it's only 72 minutes long. Why would the filmmakers choose to make such a film? It lacks heart...it lacks soul. Why?! Yet, oddly, this film is part of a set from the high-brow Criterion Collection.

By the way, IMDb says this is a comedy and a romance. I saw no indication of either as I watched the film. Now had they said it was a zombie film, that I could have believed.

There's an almost silent film like quality to much of Kaurismäki's work, with that notion of a cinema of images that works without the extraneous use of dialogue or the broader notions of exposition. What this results in is a style of film-making in which the most simple of images tells a story. Simplicity is essentially the key to this film; not simply within the set up, in which a bin man begins a furtive relationship with a supermarket checkout girl, but in the presentation of the film itself. Some critics have used worlds like minimalist or unassuming when discussing the films of Kaurismäki, and in particular, his early trilogy of films, of which Shadows in Paradise (1986) would be the first, but to me, it's more about simplification; stripping away all the usual narrative window-dressing and over complicated presentation of technique to get to the very centre of the story and the heart of these characters.

This was Kaurismäki's third film as a director, though at times you could argue that it feels more like his first. His actual debut came with Crime and Punishment (1983), a typically straight-faced adaptation of the classic Dostoevsky novel, with the more obvious Kaurismäki touches at this point still being in the somewhat embryonic stages. This was followed by the oddly surreal and coolly episodic Calamari Union (1985), a bizarre black and white comedy that drew on the influence of Bertrand Blier's Buffet Froid (1979) to tell the story of fifteen men - fourteen of them named Frank Merciless, and an idiot man-child named Pekka - who leave behind the hopeless working class district of Eira and quest to the near-mythical suburb of Kallio. These films are somewhat ambitious, both in terms of their narrative scope and the technical presentation, suggesting the work of a filmmaker already fairly confident about what cinema is and what his cinema should accomplish. In comparison, Shadows in Paradise seems content to tell an honest story about small, everyday characters in such a way as to not draw too much attention to itself.

There's nothing wrong with that. There is a pure art to the presentation of subtlety - something that Kaurismäki is well aware of - and although I tend to prefer his more inventive and idiosyncratic films, such as the aforementioned Calamari Union, as well as the far greater films like Hamlet Goes Business (1987), Ariel (1988) and The Man Without a Past (2003), there is something quite commendable about a film that attempts to work on such a honest and simple level. The relationship between the characters here is something most of us can identify with, as the odd relationship between Nikander and Ilona propels the story, which is further grounded by Nikander's friendships with his co-workers, Esko and Melartin. As even with Kaurismäki the film works as a result of the perfect casting, with Matti Pellonpää, Kati Outinen, Sakari Kuosmanen and Esko Nikkari, all regulars of the director's work, managing to give so much information about the lives of these characters with gestures so small and exchanges so subtle as to be completely lost on a less attentive audience.

For me, Shadows in Paradise isn't the greatest of Kaurismäki's films, or indeed, the best place to start. However, it does show hints of the style that would be further developed, not least in the two films that would continue and close this loose, thematic trilogy, Ariel and The Match Factory Girl (1990), but in far more ambitious and imaginative projects like Leningrad Cowboys Go America (1989), Drifting Clouds (1994) and Lights in the Dusk (2006). That said, Shadows in Paradise does offer the usual high quality of performance and direction, with the typical Kaurismäki approach to low-key production design and warm cinematography. If you're already familiar with the director's later films then Shadows in Paradise is certainly worth seeking out, if only for the chance to see the formation of that unique style and the soon to be recognisable approach to character and narrative.

The first part of AKI's "worker" trilogy is also the first time to see his works. It basically meets the expectations. The shooting is not artificial. It completely and truly restores the face of the bottom society in Finland and the various problems that men have to face in their life. In some places, people's loneliness is well interpreted, which is worthy of the word "lonely shadow" in the title. The director himself is also very handsome. He is not an ordinary actor at first sight. He looks forward to his future works.

It's definitely my favourite Finnish movie, probably ever. I haven't seen many anyways. I greatly enjoyed it, and the humour appealed to me. I really liked the main characters, and even though the movie was quite ''gruesome'' for the lack of a better word, I thought it was romantic in its own way. What a movie!

(1986) Shadows in Paradise/ Varjoja paratiisissa (In Finnish with English subtitles) DRAMA

Written and directed by Aki Kaurismäki the first of three movies of the ""Proletariat Trilogy", that introduces the odd relationship between a garbage man, Nikander (Matti Pellonpää) pursuing cashier, Ilona (Kati Outinen) at a supermarket after his friend and co-worker unexpectedly dies. As we know more about both Nikander and Ilona's daily life routines as well and the glimpse look at the customs of Finnish life, that may resort to complicated situations. Aki's purposeful stoic personalities is on purpose and it works.

A garbage man, his girlfriend, their relationship, ups and downs, and a voyage.

It is a production that tells about the plain and colorless, cold and distant, soulless and exhausted state and relations of the working class. Of course, this applies to the workers of Scandinavian countries. However, the movie has a vision of the future. It shows a stage that every country will go through with globalization. The working class is the emptiest class, the lower class that has no brains and has nothing to say, not only not being, but having nothing to say. We understand from the end of the movie that we have a director who salutes communism and glorifies the simplicity of the love of the proletariat. But it also shows how colorless lives they have.

My first taste of Finnish director Aki Kaurismäki, I watched Shadows In Paradise shortly after finding out about it because it's so short and seemed to be sweet. Based on reputation and plot lines, Kaurismäki looked to be the Finnish Mike Leigh in his representation of working life, or perhaps anti-Mike Leigh with his minimalist dialogue. The film is good, but too slight to have a big impact. It's a very simple love story, similar to films like Badlands where a couple do wrong to be with each other, but not a lot of exciting events happen. It's well shot and the cinematography is great even if the editing isn't always the best. But it holds back on its characters far too much for me to be invested. Interesting breezy watch though.

7/10