Written and directed by Aki Kaurismaki
Cinematography Timo Salminen
Starring Andre Wilms, Kati Outinen, Jean Pere Daroussin, Blondin Miguel and Pierre Etaix
It is not very often that a film labelled "art house" features a happy ending and gets away with it. But (Spoiler Alert!) Aki Kaurismaki attempts exactly that in this comic drama set in the French coastal town from which the film derives its title. And the way the film has been received at major festivals, it could very well seem that the director's courage has paid off.
Centred on an aging shoeshiner Marcel Marx (Andre Wilms) and his efforts to protect and rescue a young African stowaway Idrissa (Blondin Miguel) by dispatching him off to his mother in London, Le Havre could, in lesser hands, turn into an escape thriller in the Hollywood tradition. But Kaurismaki has the entire action played in deadpan, infusing the film with a sense of detachment that only adds to its charm. Yet the film does not fail in winning our empathy for Marcel, Idrissa and Marcel's ailing wife Arletty (Kati Outinen) hospitalised early on in the film with an illness for which the doctor (Pierre Etaix) says there is little hope.
Marcel's efforts at sending Idrissa to London puts him at odds with inspector Monet (Jean Pere Daroussin), whose efforts he must evade to accomplish the task he has set out for. An even greater challenge is raising the money for the journey. But Marcel is determined in his resolve to help the boy.
The thing that is striking about Le Havre is its imagery. In both the photography and the mise-en-scene, Kaurismaki's style is deliberately old-fashioned. Not only is the staging resourcefully simple, with minimal camera movement, but the film, so it seems to me, has completely stayed clear of any digital manipulation, completely keeping its faith in the photo-chemical process. That takes some courage, especially these days.
Watching the film, one is initially confused as to the period in which it is set. While the initial scenes, with Rock 'n Roll music in the background may have you believe that the film is set somewhere in the 70s, a reference to the Al-Qaeda would confirm that the film is set somewhere in the post 9/11 world. Though the film does not make any explicit political statement, it is hard to miss the political undercurrent that runs through it.
Le Havre, in that sense, is Kaurismaki's way of keeping faith in humanity even in our deeply cynical times, that there is room for compassion even in turbulent times. To condense the review in a nutshell, Le Havre brings together the humanism and politics of Chaplin and the deadpan humour of Keaton.
Cinematography Timo Salminen
Starring Andre Wilms, Kati Outinen, Jean Pere Daroussin, Blondin Miguel and Pierre Etaix
It is not very often that a film labelled "art house" features a happy ending and gets away with it. But (Spoiler Alert!) Aki Kaurismaki attempts exactly that in this comic drama set in the French coastal town from which the film derives its title. And the way the film has been received at major festivals, it could very well seem that the director's courage has paid off.
Centred on an aging shoeshiner Marcel Marx (Andre Wilms) and his efforts to protect and rescue a young African stowaway Idrissa (Blondin Miguel) by dispatching him off to his mother in London, Le Havre could, in lesser hands, turn into an escape thriller in the Hollywood tradition. But Kaurismaki has the entire action played in deadpan, infusing the film with a sense of detachment that only adds to its charm. Yet the film does not fail in winning our empathy for Marcel, Idrissa and Marcel's ailing wife Arletty (Kati Outinen) hospitalised early on in the film with an illness for which the doctor (Pierre Etaix) says there is little hope.
Marcel's efforts at sending Idrissa to London puts him at odds with inspector Monet (Jean Pere Daroussin), whose efforts he must evade to accomplish the task he has set out for. An even greater challenge is raising the money for the journey. But Marcel is determined in his resolve to help the boy.
The thing that is striking about Le Havre is its imagery. In both the photography and the mise-en-scene, Kaurismaki's style is deliberately old-fashioned. Not only is the staging resourcefully simple, with minimal camera movement, but the film, so it seems to me, has completely stayed clear of any digital manipulation, completely keeping its faith in the photo-chemical process. That takes some courage, especially these days.
Watching the film, one is initially confused as to the period in which it is set. While the initial scenes, with Rock 'n Roll music in the background may have you believe that the film is set somewhere in the 70s, a reference to the Al-Qaeda would confirm that the film is set somewhere in the post 9/11 world. Though the film does not make any explicit political statement, it is hard to miss the political undercurrent that runs through it.
Le Havre, in that sense, is Kaurismaki's way of keeping faith in humanity even in our deeply cynical times, that there is room for compassion even in turbulent times. To condense the review in a nutshell, Le Havre brings together the humanism and politics of Chaplin and the deadpan humour of Keaton.
