Hellen I like the storyline of this show,it attract me so much

Smartorhypo Highly Overrated But Still Good

Lumsdal Good , But It Is Overrated By Some

Mandeep Tyson The acting in this movie is really good.

Guy Plot: A lonely security guard is manipulated by a femme fatale working for a gang of jewel thievesThis is a film that is so bleak that it actually becomes very funny, in a slightly hysterical sort of way. It was recently broadcast in the UK at 2am, which must have made for a surreal viewing experience. The plot is minimal, the characterisation light, and the script short. Much of the film is taken up with long silences (in which the characters smoke), songs being played in full, and lengthy shots (check out the one of a card game in the gangster's den, where the femme fatale vacuums the carpet). The protagonist never actually does anything, preferring to simply let events wash over him, and for a thriller there are no thrills. Nor is there any action, or humour, or human warmth (the final shot excepted). Nonetheless, the film is gripping in a curious way, its bleakness and underdog hero proving strangely compulsive viewing.

johnnyboyz Lights in the Dusk is an odd little animal, a film that gives you archetypes of a genre and delivers a story it insists you find interesting before branching off into something else and then ending in a manner that, at least I, found abrupt. The title of the film is Laitakaupungin valot, Finnish for what I can only presume to be 'Lights in the Dusk'. The title suggests hope, it suggests something light or positive; something to map onto amidst the ever-growing darkness or 'dusk' around you as the light fades and the black creeps in. Given the final shot of the film, Finnish director Aki Kaurismäki seems to stay true to his word and the film's title but I felt short changed; as if there was something else that could've developed once the film had ended to do with a psychological study of absolute no hope, rather than giving us what we get (which is genre film-making) and then finishing on an ambiguous note to do with us asking 'what happens next'? It's a strange feeling when you come away wanting to know what happens next in a film but it's an even stranger one when you feel what might've happened next could have been better than what you were given. All sorts of questions open up, mostly to do with love and relations and one's true feelings for the everyday person you feel like you know but really don't and whether or not the immediate resolution would have been enough for the film's hapless protagonist or whether he'd been pushed so far over the edge that revenge now seemed obligatory to him.But hey, maybe that's the point or maybe Kaurismäki will revisit the cut off point in the future. The film as a whole is indeed an odd beast but an intriguing one, peeling off for long passages of scenes without dialogue before advancing the story at a relatively speedy pace, something that echoes life as a whole perhaps. The film is not shy of changing its pace as it places its noir infused, hapless protagonist at a dinner table waiting for his date as the minutes tick by. The next minute, he's showing her around where he works and this-is-this-and-that-is-that and the scene has finished.The hapless lead is Koistinen (Hyytiäinen), a security guard at a Helsinki jewellers doing the night rounds more often than not. He meets Mirja (Järvenhelmi); the smoking, mysterious, alluring and relatively quiet femme fatale of the genre piece who works for some crooks that have bigger fish to fry, notably the jewels at Koistinen's work, and he is the way in. The film's idea looks good on paper, in fact it looks and sounds like a cracking yarn with the sort of sneaky approach behind it revolving around it being a 'hiest' picture not entirely about the heist. Ever think about when you last watched a really iffy heist film like '3000 Miles to Graceland' and you see any number of security guards or police officers getting shot or taking some other flack during the robbery? Well Lights in the Dusk is the sort of film that follows those wounded peace keepers (either physically, psychologically or whether they're 'in' on it or not) and develops them in the aftermath rather than the thieves.The film's overall tone reminded me of another Scandinavian film of recent times, entitled 'The Bothersome Man' in its brooding and slow build up, a very quiet film; ominous at times as these strange places or people just exist – they do nothing much more but exist right there, doing and saying and expressing as little as possible. The editing and delivery in both films is very drab and downbeat but purposely so and thus gives off an odd atmosphere of the mysterious and uncertain. Koistinen and Mirja are not two of the most charismatic lead characters in a film ever but their relationship is never even 'so' in the first place so whatever communication or fondness there is will always be a result of Mirja's larger goal which is related to her employers larger goal.To say whether the heist happens and what happens next feels like a crude spoiler. Just to say, the study of loneliness and the parallels between the alienation at work twinned with the feeling of being left out resonates as to where Koistinen ends up at various intervals, following his 'cutting off of contact' with said female interest. I just felt sorry for the guy; someone who just keeps getting knocked down and, I feel, builds up such venom of which we never get to see the consequence of, something that I've already said might make for an interesting study, immediately post-ending of this picture. This is a man's 'prior tragedy' event in any Hollywood film you like stretched to 80 odd minutes and for pulling that off you have to commend the director. In a sense, anyone that watches this are playing a 'Koistinen' role themselves with the director as the seducer, leading you down a route of the noir and of the 'hesit' genre before branching off to look at the results of said event and then ending on a distorting note leaving you wanting more. Regardless, I look forward to seeing some of Kaurismäki's other work in the future.

Roland E. Zwick Clocking in at a pithy one-hour-and-fourteen minutes, "Lights in the Dusk" is an existentialist Finnish comedy in which a mild-mannered night watchman, who seems to be living in a world of his own, becomes an unwitting patsy in a jewelry-store robbery when he opens up to a woman who has seemingly taken a romantic interest in him.As the much put-upon working man who allows a femme fatale to trick him into doing her dirty work for her, Janne Hyytiaien gives a marvelously deadpanned performance that perfectly reflects the spare, archly humorous world director Aki Kaurismaki has created for the film. With a tone of cool detachment, the script rarely lets us into the mind of this strangely uncommunicative and inscrutable young man, whose emotions and thoughts are always buried somewhere deep beneath an expressionless surface. Yet, somehow, despite his reticence, he still manages to pique our interest and engage our sympathy, primarily because his predicament and his lack of a conventional reaction to it are both so comically unsettling. We find ourselves identifying and rooting for him even though we don't really get to know all that much about him. In a way, he reminds us a bit of Meursault from Camus' "The Stranger," a man so emotionally detached from the world around him that his actions aren't always explicable to those of us who are residing in the "real world" watching him perform them.Though it is a difficult film to pigeonhole, "Lights in the Dusk" is a modest, unassuming work that touches both the heart and the funny bone in roughly equal measure.

battisti When you get experienced enough as a filmmaker and you learned most of the tricks of the trade, you realise that the best thing to do for an art-house director is to stick mindlessly to whatever made you successful with the festival-going crowd and the film critics earlier. Never mind that you have no new ideas and that the most your film does is deliver the 'good old feeling' everyone expects.That's a fate Kaurismaki seems not to have been able to avoid with his Lights in the Dusk. Totally devoid of ANY new or creative ideas with respect to what we have seen from him before, Kaurismaki's feature recycles his lately trademark - and otherwise very appealing - darkish, yet basically cheerful coloured backgrounds and surroundings behind and around the actors. But the story is the most feeble ever... No real suspense, only mindless clichés about a totally hapless main character (no, this is not irony on the film's part, guys, this is just the 'good-old-Kaurismaki-feeling' we yearn for and it only seems to work because his other films were enjoyable on their own). Plus some sentimental music tossed in (who would have expected that from Kaurismaki? ;), without the real possibility for the viewer to relate to the characters (you feel no sorry, no empathy, only anger at most about how incapable they are).And finally, even at about 75 minutes, this movie is waaaay longer than it should be: another sign of running out of fresh ideas. Hey Aki, you'd better take a rest and come back with something that's more up to your standards. And my advice for the potential viewer: watch the other parts of the trilogy (The Man Without a Past, 2002; Drifting Clouds, 1996), and skip this one.