eventually to comedies Loma (1976) and Jäniksen vuosi (1977). Mikko Niskanen began his career back in 1962 with Pojat, starring then unknown Vesa-Matti Loiri. Niskanen joined the new wave with Käpy selän alla (1966) and Lapualaismorsian (1967). The 1960s also marked the rise of new style of Finnish comedy films under Pertti Pasanen, such as X-Paroni, About Seven Brothers and Näköradiomiehen Ihmeelliset Siekailut. Rauni Mollberg adapted two of Timo K. Mukka's magically realistic Lapland novels to the big screen: The Earth Is a Sinful Song (1973) and Milka (1983). Comedy Millipilleri (1966) by Ere Kokkonen and Spede Pasanen was one of the most watched Finnish films. The duo would go on to direct many more popular films in the following decades, including box-office hit Uuno Turhapuro (1973) starring Vesa-Matti Loiri, which would spawn a franchise with 19 films in total. Despite film critics not always being appreciative of their work, the popularity of the films by Kokkonen and Pasanen was undeniable and long lasting. However, the 1970s also brought with it Finnish films that were not very successful financially, of which the year 1974 was one of the rock bottoms in Finnish film history. In that year, appeared an erotic thriller film The Hair, directed by Seppo Huunonen, which was largely despised by critics and also been considered "one of the worst Finnish films ever made". Kaurismäki Era of the 1980s The old guard of the previous film-making generation was symbolically thrown from the throne in the beginning of 1980 by a Finnish-Soviet co-production, Borrowing Matchsticks, followed by Tapio Suominen's Täältä tullaan, elämä!. Edvin Laine and Mikko Niskanen made their last movies, and the decade saw nearly 30 directorial debuts, including movies from Mika & Aki Kaurismäki, Markku Lehmuskallio, Pirjo Honkasalo, Taavi Kassila, Janne Kuusi, Matti Kuortti, Matti Ijäs, Olli Soinio, Lauri Törhönen, Claes Olsson, Veikko Aaltonen, and Pekka Parikka. The Liar (1981) and The Worthless (1982), directed by Mika and written by Aki Kaurismäki, broke the status quo in Finnish film industry by bringing back creativity and small scale production. Mika went to pursue a more traditional way of film making in his career with Klaani (1984), Rosso (1985), and Helsinki Napoli All Night Long (1987). Aki has taken less deviations in style and theme, and his films are known for minimalistic non-verbal communication and dead-pan delivery of dialogs. While Aki is best known for the Suomi-trilogy Kauas pilvet