Unbeknownst to them, when they run into Aatami Korpi (Jorma Tommila) with a saddlebag full of gold by the side of the road, they’re facing a legendary soldier, who, if legends are to be believed, was considered an almost supernatural monster by the Soviet soldiers he massacred a few years prior.Īatami barely utters a word throughout the film. Presented as boorish, ruthless and cowardly, the film’s Nazis are shown less as die-hard believers than flagrant, amoral opportunists. The film primarily builds on the idea that people want to see Nazis die. The movie is often silly and occasionally stirring it’s a great dry run for filmmakers looking to stretch a budget and push a concept to its limit. It uses the almost comic book-like framing to lure the audience into a world of heightened reality, where aesthetics and fundamental physics are secondary to spectacle. It does an excellent job with its bare resources. It’s a movie without real subtext, and though it has big movie aspirations, it works within the limited budget range of non-American cinema. The film is a pure genre exercise with very little dialogue and a plot driven mainly by one man’s refusal to die. Organized in chapters, with a soundtrack that’s equal parts Ennio Morricone and chanting Vikings, Sisu is a back-to-basics Nazi revenge flick inspired by Euro-westerns with an edge of Tarantino. The landscape is sunburned, with shades of ochre and brown. In the tundra of Finland in the last push of the Second World War, a weary gold miner digs his dog, a grey-white poodle, circles a large hole in the ground.
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