Sisu:
“It means a white-knuckled form of courage and unimaginable determination.
Sisu manifests itself when all hope is lost.”
Sisu manifests early and often in this daunting tale of discovery and survival. When a former soldier. Aatami (Jorma Tommila), comes across gold, he knows that in order to cash out he must travel to town through the desolate, war-torn landscape of Finland. During his travels he runs into a group of Nazi soldiers, and when they realize what he’s hiding they take it upon themselves to attack. All out war ensues. Only one side can prevail–who will it be?
Sisu is a very interesting take on World War II, as it not only explores the evil that existed within the ranks of the Nazis, but also explores their humanity. Let’s be clear, the film doesn’t appear to be attempting to shine any sort of warm or favorable light on the Nazis–and the majority of the film depicts them exactly as the world has come to know them. However, we often forget that, regardless of their actions, they were in fact people with families and goals. Seeing a different side, being able to understand the humanity and the logic that exists somewhere deep down inside of them creates accessibility. Sisu is easy to understand in this regard, as it develops human connection from beginning to end.
In a film that showcases blood like it’s nothing, developing some aspect that is aesthetically pleasing is a must. You’re likely to eliminate a series of viewers as a result of blood being spilled early and often–and it seems that Writer-Director Jalmari Helander understands this, creating elements that will extend themselves beyond the daunting reality that Sisu is about death and destruction. There is a physical beauty that juxtaposes the hard-to-swallow, blood-soaked visuals strewn throughout the film–and that beauty lies in the landscapes. While the world that Aatami travels is often barren and desolate, it’s inviting nonetheless. It reminds viewers that even in times of hardship in the world, even after millions have been murdered for no reason at all, nature and beauty will find a way, ultimately finding ways to prevail. There is a physical and metaphorical beauty present here, and it will likely be able to invite viewers that otherwise may attempt to avoid Sisu.
Additionally, Helander develops a female presence that survives the length of the film in an interesting way. Much like the ideas present in the landscapes, Sisu, time and time again, presents viewers with the understanding that women are powerful and a force to be reckoned with. This aspect of the film ultimately ends up being a lot of fun, introducing characters that not only help to supplement Aatami, but create their own narrative as well. Many of the decisions that Helander makes helps to extend Sisu as far as possible, to as many viewers as possible–and the majority of what he does works.
This film feels oddly familiar in some strange ways. Sisu is like James Bond meets John McClain–and it’s wild. It’s honestly a little ridiculous–many may even use the word stupid to describe the trials and tribulations that Aatami faces throughout the course of Sisu, but that doesn’t mean it isn’t a ton of fun anyway. Seeing him overcome impossible odds time and time again, ripping through the cabin wall of an aircraft and fending off dozens of Nazi soldiers isn’t something that’s likely–but it’s something that will likely entertain viewers from beginning to end.
Sisu is a unique journey through the life of a former soldier trying to find his way after the military, and it explores pockets of the Nazi era that often fly under the radar. With the incredible juxtaposition in aesthetic, the wild story led by a badass protagonist, and a series of decisions made to extend the film’s reach, Sisu is a guaranteed success.
Written & Directed Jalmari Helander.
Starring Jorma Tommila, Aksel Hennie, Jack Doolan, Mimosa Willamo, Onni Tommila, etc.
⭐⭐⭐⭐⭐⭐⭐⭐½/10
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