That Kiljunen familys sets out find their two missing family members, who have been sent to Tampere by the Matalamäki boarding school for retraining due to poor school performance.
The boisterous good humor of Jurmala (Mikk Mikiver), the nickel-mine owner, is, if anything, only barely dented by the raging battles in Finland before, during and after World War Two. In fact, everywhere he goes, he meets prospective customers on all sides of the conflict with his all-inclusive greeting "Friends, Comrades." Indeed, the resource he is wrenching from the earth's bowels is necessary to all forms of industrial activity, and is especially necessary for military applications. Thus, he has no reason to fear that he will ever run out of customers. This doesn't prevent him from using every possible means to entice them. At home, his relationship with his wife is not so prosperous, and they resort to some extraordinary means to try and keep on an even keel.
Directed by Matti Ijäs and written with Arto Meller, Räpsy & Dolly aka Paris Waits (1990) is a tragicomic love story of a petty criminal and a former cabaret dancer. Detective Karisto (Kari Väänänen) releases Auno "Räpsy" Pirilä (Matti Pellonpää) from prison, who in turn has to calve his childhood friend Börje (Pertti Sveholm) from criminal activities. Alcoholic Dolly (Raija Paalanen) takes Räpsy to live in Kallio, Helsinki, and hopes to move to Paris with her in the spring.
This biographical film celebrates the little-known life of the Finnish novelist and revolutionary Maiju Lassila (Asko Sarkola), born in 1868. Lassila's early years are briefly shown, then the film richly details his active and paradoxically reclusive adult life, beginning with his sojourn in St. Petersburg, working as a businessman. Unable to stay away from politics, he caused the assassination of a high-ranking Czarist and as a result, had to run back to Finland to hide. Once established in the comparative safety of a small village, he taught school in order to support his real vocation as a writer. Always living on the edge of poverty, if not square in the middle of it, Lassila continues to avoid public contact - he keeps his identity low-key and camoflages it by publishing under a variety of pseudonyms.
