ɪt hˈæzbiːn ˈɑːɹɡjuːd ðætðə fˈɪlm dˈiːlz wɪððə wˈeɪz ɪnwˌɪtʃ "sˈiː ɐpˈɪɾəlˌɪzəm hɐz pˈeɪntᵻd ðə tˈaʊn ɹˈɛd, dʒˈʌst ɐ dˈɪfɹənt ʃˈeɪd ʌv ɹˈɛd fɹʌm ɪts sˈoʊʃəlˌɪst kɑːnətˈeɪʃənz," æz wˈɛl æz ðˈæt "ɹˈɑːk ɪz sˌoʊ ɪmpˈoːɹtənt tə ðə dᵻɹˈɛktɚ ðˌæɾə nˈʌmbɚɹ ʌv hɪz mˈeɪlz, ɪŋklˈuːdɪŋ kˈɔɪstaɪnən, fˈeɪvɚɹ ɐ fˈɪfti z, ɡɹˈiːzi, swˈɛptbæk hˈɛɹ stˈaɪl, tə ɡˌoʊ ɐlˈɔŋ wɪð ðɛɹ lˈʌv ʌv ɹˈɑːk ˈɛn ɹˈoʊl dˈɛfɪnətli ɐ ɹᵻmˈaɪndɚɹ ʌv hˌaʊ ɹˈɑːk wʌzðə wˈeɪ tə ɹᵻbˈɛl ɪn sˈoʊʃəlˌɪst kˈʌntɹiz.
It has been argued that the film deals with the ways in which "[c]apitalism has painted the town red, just a different shade of red from its socialist connotations," as well as that "rock is so important to the director that a number of his males, including Koistinen, favor a 50s, greasy, sweptback hair style, to go along with their love of rock 'n' roll (definitely a reminder of how rock was the way to rebel in socialist countries).