|René Clair: Entr'acte: Marcel Duchamp and Man Ray.|
Alvar Aalto ja Filmistudio Projektio
Entr'acte. FR 1924. PC: Ballet Suédois. P: Rolf de Maré. D: René Clair. SC: Francis Picabia. CIN: Jimmy Berliet. M for a cinema orchestra: Erik Satie. Featuring: Jean Börlin (le chasseur au chapeau tyrolien / le prestidigitateur), Igne Friess (la ballerine), Francis Picabia (un homme qui charge le canon), Marcel Duchamp and Man Ray (joueurs d'échecs), Darius Milhaud, Marcel Achard, Georges Auric, Georges Charensol, Georges Lacombe, Roger Le Bon, Jean Mamy, Rolf de Maré, Erik Satie, Pierre Scize, Louis Touchages (hommes qui suivent le corbillard). VET 44518 – K16 – 325 m / 22 min
|Fernand Léger: Ballet mécanique.|
Ballet mécanique. FR 1924. D: Fernand Léger, Dudley Murphy. SC: Fernand Léger. CIN: Dudley Murphy, Man Ray. M for a cinema orchestra: George Antheil. Featuring: Fernand Léger, Dudley Murphy, Katherine Murphy, Katrin Murphy (girl with a flower), Kiki de Montparnasse (smiling girl). B&w and colour, silent, at 18 fps /15 min
|László Moholy-Nagy: ein lichtspiel schwarz weiss grau|
ein lichtspiel schwarz weiss grau. DE 1930. D: László Moholy-Nagy. Original format 16 mm, b&w, silent, 6 min – screened in 35 mm
Vauhtia – Tempo 1–2. A Film Rhapsody of Manufacture. FI 1934. PC: Aho & Soldan. D+CIN: Heikki Aho, Björn Soldan. VET A-264 – silent – 23 min – screened from a 4K DCP (KAVI 2017)
|Luis Buñuel & Salvador Dalí: Un chien andalou.|
Un chien andalou / Andalusialainen koira / Den andalusiska hunden. FR 1928. P: Luis Buñuel, Salvador Dali. D+ED: Luis Buñuel. SC: Luis Buñuel, Salvador Dali. CIN: Albert Duverger. AD: Pierre Schilznech. Music of the sonorized edition edited by Luis Buñuel in 1960 (frame cropped for sound): Richard Wagner: excerpts from Tristan und Isolde, perf. the orchestra of the Frankfurt Opera conducted by Karl Bamberger; Ludwig van Beethoven; "Tango Argentinien" (a French 1950's pastice of the Argentinian tango). C: Pierre Batcheff (man), Simone Mareuil (woman), Luis Buñuel (man on the balcony), Jaime Mirevilles, Salvador Dali (priest). Helsinki premiere: 5.10.1962 Orion, distributor: Aito Mäkinen – VET 62490 – 1956: KK, 1962: K16
2003 restoration: Filmoteca Española / Ferran Alberich, silent with music on CD (1) Classica: corresponding to Buñuel's concept of 1960 – restored from negatives and other best sources – silent frame – /18 fps/ 22 min
Introduced by Ville Suhonen and Antti Alanen
Screened at Cinema Orion, Helsinki (Alvar Aalto and Filmistudio Projektio), with Ilari Hannula at the piano, 21 May 2017
In the context of the Alvar Aalto and the Modern Form exhibition at Ateneum Art Museum we screened a tribute to the Filmistudio Projektio, Finland's first film society, the chairman of which was Aalto in 1934–1936. In fact, there was an earlier film society of the film industry with weekly screenings of new films, but Projektio was the first film society dedicated to film art, even with an emphasis on art film – and what we call today artists' film. Thus Alvar Aalto became the founder of the organized Finnish film culture.
In this screening we reconstructed Projektio's inaugural screening (René Clair: Entr'acte, Fernand Léger: Ballet mécanique, and László Moholy-Nagy: ein lichtspiel schwarz weiss grau). Léger and Moholy-Nagy were Aalto's personal friends who stayed in Finland (László even giving his daughter the Finnish name Hattula) and whose work was exhibited and distributed by the Gallery Artek.
We added an experimental industrial short, Tempo, by Heikki Aho and Björn Soldan, the sons of Juhani Aho who became the founders of documentary film as an art form in Finland, influenced by modernism and Russian montage.
And Un chien andalou by Luis Buñuel and Salvador Dalí as an example of the key works of the cinema that were first screened in Finland by Projektio and could have at the time been seen nowhere else in our country.
Alvar Aalto and his friends had been impressed by Studio 28 and other art cinemas in Paris, the Film Society in London, the Filmliga in Amsterdam, the film culture of Switzerland, and closer to home, the already impressive chain of film societies in Sweden. In Sweden film societies were called filmstudios which explains the name of the bilingual Finnish film society, Filmistudio Projektio. Gösta Werner, the mastermind of the Swedish film studios, was instrumental also for Projektio with print circulation etc.
At Projektio a Finnish special audience (including the generation of new and ambitious film-makers such as Vaala, Tulio, Blomberg, Tapiovaara, Aho, and Soldan) could for the first time see films by Buñuel, Eisenstein, and Cocteau, and abstract films, Dadaism, surrealism, Russian montage, and expressions of queer sensibility on screen.
There were winds of nationalism in Finland in the 1930s but also equally strong winds of internationalism, to which Aalto and Projektio contributed. Artists such as Aalto and Tapiovaara were both deeply national and international, with a self-evident sense that one cannot fully exist without the other.
BEYOND THE JUMP BREAK: OUR PROGRAM NOTE: