Ho affittato un killer

I watched a documentary about Aki Kaurimaki (one of my favourite directors) in which he stated that he was sick and tired of pages and pages of dialogue he had written ending up on the cutting room floor. So he keeps the dialogue to a minimum. This film is a perfect example of this philosophy. This is Kaurismaki's trademark. Anyone who has seen "Leningrad Cowboys Go America" or "Arial" will recognise his sparing use of dialogue rather than having characters speak just for the sake of speaking. It is no wonder that his most recent film "Juha" was a silent film.

This is a very dark and very realistic film about loneliness and depression. All the main characters in the film are lonely people, with very little to live for. Anyone who liked Tom Di Cillo's "Johnny Suede" will find that this is a very film to "I hired a Contract Killer". Personally, I loved this film and would highly recommend it to anyone with an appreciation for fine art house cinema.

Finnish movies are often blamed (at least by Finns themselves) for containing very weak emotions and total lack of good humor. In my opinion, this movie gives a great deal of both.

The main character is an immigrant who loses his job and while swimming in depression, he tries to kill himself (and fails on it, too).

The movie gets great after the point where our hero hires an contract killer to kill him. Since his life is already lost (and the killer is going to kill him anytime), he begins to sink more and more into misery just when... he falls in love.

Suddenly, life isn't so bad anymore - too bad that the killer is still shadowing him and just trying to finish the contract they've made.

I just simply LOVE this movie, it is so funny and yet so good parody about all Finnish customs and traditions.

Over the course of seven movies, Aki Kaurismäki explored various sides of Finnish life and culture, from the inexorably tragic (The Match Factory Girl) to the upright hilarious (Leningrad Cowboys Go America). For his eighth feature film, he decided to try something new: he moved to England, ditched all of his regular actors, cast his all-time idol (New wave star Jean-Pierre Lèaud) in the lead and came up with one of the most brilliant and bizarre comedies of recent years. Well, not that recent, but it's genius, I can assure you.

The story takes place in London, and begins in what seems to be a very boring office (or at least the work is boring). Because of financial difficulties, some employees have to be made redundant. For some other reason, foreigners are the first victims. In other words, Henri Boulanger (Lèaud) is out of the game. Having lost the only thing he really cared for, he thinks there's nothing left for him in life and therefore tries to kill himself. Repeatedly. And with mediocre results (hanging? The rope is tron apart; putting the head in an oven? Gas strike all over the city).

This makes Henri even more miserable. So sad, in fact, that he eventually asks a professional assassin (Kenneth Colley) to do the job. While waiting for his final hour to come, he goes to a pub. And there the unexpected happens: he meets a woman (Margi Clarke), rediscovers the joy of living and changes his mind. Pity the killer won't...

In someone else's hands, this film could have been an absurd, grotesque, unrealistic parody of gangster movies. Kaurismäki, however, keeps it simple and believable, largely thanks to the controlled performances: Colley stays cold and unaffected throughout the whole film, even when he's coughing blood, while Léaud never abandons his everyman role, doing nothing more than occasionally raise an eyebrow when things take unpredicted turns.

The film is almost perfect, weren't it for one factor: Margi Clarke. With all the talented British actresses available, Kaurismäki had to pick an unknown with no charm and a dreadful accent. This slight casting mistake prevents I Hired a Contract Killer from being an undisputed masterwork, but like all the other movies on Kaurismäki's CV, it's still worth your attention.

The problem of Henri Boulanger is similar to that of Odysseus who told his friends to tighten him up at a pole of his ship before they drive through Scylla and Charybdis, and, to never obey him if he asks them to loose the ties, because otherwise he will be lost for either of the two monsters. In the case of Henry Boulanger it is so that this sober, never-drinking, never womanizing Kafkaesque office-worker suddenly looses his job, when the company wants to shrink. Boulanger, who never had tasted the sweet delirium of alcohol and the seductive odor of cigarettes, does not know a catalytic spirit of auxiliary constructions that would help him over the shock of having lost his job. So, he does what nobody else would do in his situation: he hires a contract killer. However, shortly after having paid the sum to kill himself, he enters a bar where they do not sell tea, so, for the first time, under the horizon of his life coming to a soon end, he drinks whiskey after whiskey, learns how good this is for him and smokes cigarette after cigarette, greedily trying to catch up what he had missed his whole life. There, in the bar, he meets Margaret, his first and therefore biggest love of his life. Clearly, having tasted the real fruits of life, he does not want to die anymore. But how can he make his killers clear that he want to withdraw from his contract? While Odysseus stays cuffed on his pole, Boulanger errs lost like Odysseus through London.

Among the few Kaurismaki films I have seen so far, this is the one I think the most accessible and I strongly recommend it. My impression of it is completely vivid as I have just watched it minutes ago from the box I was offered a year ago for my 30's: a great present for movie maniacs. Kaurismaki does not film Helsinki this time, but another capital:London, with the same kind of views, the same urban landscapes, the beauty and the strangeness, the same insisting and passionate obsession than Scorsese with his New York. You still can find the same taciturnity of characters (perfect Kenneth Colley as the killer: I was glad to recognize Admiral Piett from The Empire Strikes Back), the same type of slow narration, though this time, the story is far simpler to understand upon first visualization. It deals with life and its contradictions, the preciosity of it, changes of mind and regrets, how desire between two people can make you see things differently, make you want to live on ; love regardless of social discrimination, that is so beautiful and yet so ideal! Another great point in Kaurismaki's films consists in the appropriate inclusion of a more or less famous rock music: perfect Joe Strummer, RIP. A great moment of poetry in cinema and a perfect film fit for beginners in Kaurismaki.