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The Match Factory Girl (1990)

Tulitikkutehtaan tyttö (original title)
Not Rated | | Drama, Comedy | 6 November 1992 (USA)
A woman's terribly dull life is upended by a one-night stand pregnancy, causing her to seek retribution.

Director:

Aki Kaurismäki

Writer:

Aki Kaurismäki
Reviews
6 wins & 5 nominations. See more awards »

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Cast

Cast overview, first billed only:
Kati Outinen ... Iris Rukka
Elina Salo ... Mother
Esko Nikkari Esko Nikkari ... Stepfather
Vesa Vierikko Vesa Vierikko ... Aarne
Reijo Taipale Reijo Taipale ... The singer
Silu Seppälä ... Iris Rukka's brother
Outi Mäenpää ... Iris Rukka's co-worker
Marja Packalén Marja Packalén ... The doctor
Richard Reitinger Richard Reitinger ... Man in the bar
Helka Viljanen Helka Viljanen ... Office employee (as Helga Viljanen)
Kurt Siilas Kurt Siilas ... Policeman
Ismo Keinänen Ismo Keinänen ... Policeman
Klaus Heydemann Klaus Heydemann ... Worker
Erkki Friman Erkki Friman ... Member of dance band
Tapani Ikonen Tapani Ikonen ... Member of dance band
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Storyline

Iris has a dead-end job in a match-factory, lives with her dour and forbidding parents, and her social life is a disaster. But when she is made pregnant after a one-night stand by a man who thought she was a prostitute, she decides that enough is enough and plans her revenge... Written by Michael Brooke <michael@everyman.demon.co.uk>

Plot Summary | Add Synopsis

Genres:

Drama | Comedy

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Finland | Sweden

Language:

Finnish

Release Date:

6 November 1992 (USA) See more »

Also Known As:

The Match Factory Girl See more »

Filming Locations:

Vallila, Helsinki, Finland See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color (Eastmancolor)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Although being in nearly every scene, the protagonist does not speak until the 25-minute mark in the film. See more »

Quotes

[first lines]
Iiris: Half pint, please!
See more »

Connections

Featured in Matka suomalaiseen elokuvaan: Kaupunkiblues (2006) See more »

Soundtracks

Kolme kitaraa
The Strangers
See more »

Frequently Asked Questions

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User Reviews

A simple, unhurried, beautiful, minimalist modern fable
5 December 2008 | by chaos-rampantSee all my reviews

With THE MATCH FACTORY GIRL Kaurismaki might not tread new ground but instead perfects the stylistic hallmarks that marked him apart from most other directors of his generation. His work is that of a sculptor, hacking away at all the cinematic fat, shaping form by removing that which is not necessary. His movies as an extension of his sculptory approach attain an almost hypnotic quality - or perhaps boring uneventfulness for others. He's not at all trying to hit emotionally draining highs and lows but build a rhythmic lull, a soothing pace created of flows and ebbs that move with imperceptible change. As a result, his movies never hurry to get anywhere fast and when they get there not a whole lot happens. It's all about appreciating how they got there and the stylistic subtleties of that journey.

THE MATCH FACTORY GIRL finds Kaurismaki shunning dialogue even more than previous efforts, if that's even possible without making a modern silent picture. Which it pretty much is. The entirety of the dialogue doesn't amount to more than 1 minute and that too is used more as a form of punctuation to the images - he could easily have done the movie completely without dialogues if he so wanted. The story could have been summed up in a 20 minute short yet Kaurismaki stretches it to 65 minutes, a meagre duration by most people's standards, which here feels like a good 90 minutes.

Although the material is perhaps the most bleak and brooding he had done at that point in his career since his debut CRIME AND PUNISHMENT, it is spiced up by moments of his trademark glacial humour. A certain scene in bar involving a drunk, sleazy patron and rat poison had me laughing out loud, which is a minor success for a film of this kind. The most dramatic scenes are delivered with that same kind of deadpan unaffection that immediately acquires a serio-comic air for that reason.

Although it lacks the playfulness of its predecessor (ARIEL), this is still Kaurismaki in top visual form. He has a way with images and how he orchestrates them that is quite unparalleled at his level. Sure he's not a director of epic works and spectacle but he's carved a niche for himself over the years that has his name and particular sensibilities written all over it and he's been content to work within it. If you like his style, this is a safebet. If you're a newcomer I'd suggest starting with something like ARIEL.


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