The premise of this film is funny and odd: an employee of a British company loses his job, and because there is nothing to life for, he decides to end it right there. But all the attempts on his own life fail. Still determined, he decides to hire a contract killer - and have himself murdered.
While waiting for the executioner in his apartment, he grows bored and decides to visit a bar across the street. There he indulges himself, for the first time, in hard liquor and cigarettes. As if this wouldn't be upsetting enough to his short remaining life span, he meets a flower girl with blood-red lips. Resolutely, he demands that she sits next to him, and inevitably falls in love. All over sudden, life isn't so despicable anymore - what to do? The contract killer is still on his heels...
Kaurismäki takes this story as an occasion to revive his cinematic universe: people standing at a bar and slowly lifting a glass of beer, others sitting in front of worn-out wallpapers while smoking a cigarette. The camera lingers as if those quiet moments were a subtle study of humans on the fringes of society. They are connected through the central theme of the film, but the main focus lies on Henri Boulanger, the former employee. Stoically and with a deadpan face, he undergoes the metamorphosis of his existence, subtly expressing his newfound hunger for life. Standing in a bar and listening to an unknown guitarist (Joe Strummer), he lifts his drink and takes a long gulp. From all we know, this is the equivalent of a spontaneous expression of joy in Finland. You are required to observe and listen quite carefully, but if you do, this very refrained way of celebrating the small pleasures of everyday life is not less powerful, especially against the background of Henri's rather meaningless existence. Kaursimäki doesn't need any loud effects or tearful scenes to convince us, he doesn't even need dialogue, of which there is very little in the film. He tells the story purely through the images and the strong, yet sparing expressions of his protagonists. The lighting of the scenes is somber and full of strong contrasts, giving the film it's own unique visual mark. I Hired a Contract Killer is like a slow burning fire that still provides warmth long after the big fireworks are spent.
While waiting for the executioner in his apartment, he grows bored and decides to visit a bar across the street. There he indulges himself, for the first time, in hard liquor and cigarettes. As if this wouldn't be upsetting enough to his short remaining life span, he meets a flower girl with blood-red lips. Resolutely, he demands that she sits next to him, and inevitably falls in love. All over sudden, life isn't so despicable anymore - what to do? The contract killer is still on his heels...
Kaurismäki takes this story as an occasion to revive his cinematic universe: people standing at a bar and slowly lifting a glass of beer, others sitting in front of worn-out wallpapers while smoking a cigarette. The camera lingers as if those quiet moments were a subtle study of humans on the fringes of society. They are connected through the central theme of the film, but the main focus lies on Henri Boulanger, the former employee. Stoically and with a deadpan face, he undergoes the metamorphosis of his existence, subtly expressing his newfound hunger for life. Standing in a bar and listening to an unknown guitarist (Joe Strummer), he lifts his drink and takes a long gulp. From all we know, this is the equivalent of a spontaneous expression of joy in Finland. You are required to observe and listen quite carefully, but if you do, this very refrained way of celebrating the small pleasures of everyday life is not less powerful, especially against the background of Henri's rather meaningless existence. Kaursimäki doesn't need any loud effects or tearful scenes to convince us, he doesn't even need dialogue, of which there is very little in the film. He tells the story purely through the images and the strong, yet sparing expressions of his protagonists. The lighting of the scenes is somber and full of strong contrasts, giving the film it's own unique visual mark. I Hired a Contract Killer is like a slow burning fire that still provides warmth long after the big fireworks are spent.