Tuesday, November 04, 2025

Don Quichotte (1933, version française)


G. W. Pabst: Don Quichotte (FR/GB 1933) avec Chaliapine (Don Quichotte) and Dorville (Sancho Panza).

G. W. Pabst: Don Quichotte (FR/GB 1933). The final image. From the bonfire in which the ingenious hidalgo's library is burning emerges like a Phoenix the front page of the book about his own story. My screenshot from YouTube. 

Titre original : Don Quichotte / Titre anglais : Don Quixote / The Adventures of Don Quixote (English title in Finland) / Don Quijote (Finnish title)
    FR/GB 1933. Une production de Vandor-Nelson Film, Paris. PC: Vandor-Film (Paris), Nelson (London). P: G. W. Pabst. Directeur de la production : Constantin Geftman.
    Réalisateur : G. W. Pabst, assisté par Jean de Limur (V.O.) et John Farrow (V.A.). Scénariste : G. W. Pabst et Paul Morand d'après El ingenioso hidalgo Don Quijote de la Mancha (1605, segunda parte 1615) de Cervantes. Dialogues : Alexandre Arnoux. Photographie : Nicolas Farkas - noir et blanc.  Pellicule Kodak. Tirage G. M. Film. English version: Paul Portier.  AD: Andrej Andrejew. Costumes d'après les maquettes : Max Pretzfelder.  Exécution de costumes : Maison Karinsky. Ombres chinoises : Lotte Reiniger. Musique originale : Jacques Ibert. S: J. Dell. Camion d'enregistrement "Braunberger-Richebé". System Western-Electric. Montage : Jean Oser. Assistant: Herbert Rappaport.
    Distribution: Version française
Fédor Chaliapine : Don Quichotte
Dorville : Sancho Panza
Mady Berry : Femme de Sancho
Renée Valliers : Dulcinée
Mireille Balin : la nièce de Don Quichotte
René Donnio : Carrasco
Jean de Limur : le duc
Arlette Marchal : la duchesse
Génica Athanasiou : la servante d'auberge (comme Génica Anet)
Vladimir Sokoloff : le roi des Gitans
Charles Martinelli : Chef de Police
Charles Léger : Le Curé
Léon Larive : l'aubergiste
Pierre Labry : 2me aubergiste
Mafer : Le Roi
    Version anglaise
Feodor Chaliapin : Don Quixote
George Robey : Sancho Panza
René Donnio : Carrasco (comme Donnio)
Renée Valliers : Dulcinea
Emily Fitzroy : la femme de Sancho Panza
Sidney Fox : Maria, la nièce du duc
Miles Mander : le duc de Fallanga
Wally Patch : le roi des Gitans
Oscar Asche : le chef des gendarmes
Lydia Sherwood : la duchesse de Fallanga
Frank Stanmore : le prêtre
    82 min
    Three original language versions: French, English and German.
    Pays du tournage : France. Loc: Nice. Studios G.F.F.A. Nice.
    Genre : Drame
    Dates de sortie : Belgique : 16 mars 1933 - France : 7 avril 1933
    Helsinki premiere : 3 Nov 1935 Royal - released by Kosmos-Filmi Oy at 2280 m
    A 82 min French version (Le Comptoir Français Cinématographique) with Spanish subtitles viewed on YouTube at home in Helsinki, 4 Nov 2025

G. W. Pabst directed three language versions: 
Don Quichotte in French (82 min)
Don Quixote in English (80 min and 73 min)
Don Quijote in German (120 min). This version is missing. The year was 1933, and the film was not released in Hitler's Germany. In Austria, the French version was released on 2 Feb 1934.

AA: 

Habent sua fata libelli - books have their destinies (Terentianus).

G. W. Pabst's Don Quichotte is both based on a novel and about the novel. It is a meta-film about a meta-novel, the novel from which a direct lineage exists to the self-awareness and intertextuality of the modern novel.

The film starts from the moving pages of the original edition of Cervantes's novel. Via the magic of Lotte Reiniger's Chinese shadows, silhouette figures emerge from the pages and come to life in the incarnations of Chaliapin as Don Quixote and Dorville as Sancho Panza.

Pabst's adaptation is highly condensed but full of energy and panache. This is not a stately homage, nor made with a Classics Illustrated approach, fast-forwarding through "highlights from Don Quixote". This is a character-driven interpretation with a great cast in profoundly moving performances.

Don Quijote has inspired many great artists from Daumier to Picasso to memorable visual art, but perhaps all plays are doomed to fail in their attempt to do justice to Cervantes. Don Quijote, which I only know in the Finnish translation of J. A. Hollo, is great literature, and the joy of language is of the essence. 

Don Quijote is a celebration of the power of language and a revelation about the curse of language to lead us astray and lead to madness. A perfectly topical subject in the world of today. A performance of Don Quijote tends to emphasize the superficial action (battles with wineskins, sheep flocks and windmills) which is funny in its own right but of secondary importance in the last instance.

In the transition from silent cinema to sound, Pabst reinvented himself in many ways: as a director of triple sound versions, and boldly integrating music and song in his storytelling, most prominently in Die 3-Groschen-Oper. Having cast Chaliapin, he takes full advantage of the talent of the legendary singer, turns his adaptation into a musical and commissions a rousing score from Jacques Ibert who also composed the theme song. This is an inspired solution to a story in which the protagonist is the playwright of his own legend.

Pabst was a great director of women, and he preferred female parts with agency, but not so much here. Mady Berry is impressive as the wife of Sancho, but the character of Dulcinea is disappointing and does not give Renée Valliers much to do. Dulcinea the lady love is an illusion, a bit like Madeleine in Vertigo. Pabst would have been the perfect director to convey the comedy and tragedy of loving a dream image, but this time the opportunity is missed.

The Renaissance ambience of Cervantes is genial, conveyed in lavish detail. The vitality of the sun-drenched world of 17th century Spain has been reconstructed in Nice. The next time Pabst covered the Renaissance in Paracelsus, a portrait of the friend of Erasmus and the model of Faust, a mythical figure comparable with Don Quixote.

In the finale the knight-errant is caught by the authorities in a cage and transported back to his home village in La Mancha. There huge volumes of his expensive library are consigned to a bonfire. The vision shocks Don Quijote and he dies of heartbreak. 

The film had been shot in 1932. Its premiere took place a week after the first book burnings of the Nazi administration in Germany (7 and 8 March, 1933).

The camera remains in a long close-up of the burning pages. Like a phoenix, from the conflagration emerges the title page of Don Quijote.

...
Sinopsis (Wikipedia)

La película comienza con el gran héroe español Don Quijote de la Mancha, que lee con entusiasmo libros sobre los buenos viejos tiempos de la caballería y, como resultado, decide emprender sus propias aventuras como noble caballero. A su lado está su fiel servidor Sancho Panza, a quien promete tesoros incalculables, y que luego se convierte en su escudero. Don Quijote le pide a un comediante ambulante que participa en una representación teatral en una venta que lo nombre caballero. Don Quijote ve al malabarista como el noble caballero literario Amadís de Gaula y no se da cuenta de que al actor, pronto le resulta divertido presentar al flaco caballero como un viejo tonto a su divertida audiencia teatral. La gente común de la taberna se divierte mucho cuando Don Quijote se expone al ridículo con su actitud caballeresca. No se hace más creíble el hombre que acaba de hacerse caballero cuando declara también como su reina de corazones a una simple doncella de esta venta y, la llama Dulcinea del Toboso.

Junto a Sancho Panza, sale a cabalgar, hacia sus aventuras en su caballo Rocinante. El objetivo de sus acciones es eliminar las injusticias de este mundo y desafiar a los malvados. Un día, Don Quijote acepta la invitación del duque de la provincia, y se aloja en su casa. Para hacer que Don Quijote entre en razón y sacarlo de sus casillas, la sobrina del duque le pide a su tío que desafíe a Don Quijote a un duelo, en un torneo de caballeros para derrotarlo. Cuando Don Quijote se entera de que lo están engañando, se enfada y se marcha altivo. Luego, finalmente encontró oponentes "dignos": a veces es un rebaño de ovejas, a veces molinos de viento, que le parecen un ejército de gigantes malvados. La aspa de un molino de viento eleva a Don Quijote tan alto en el aire que tiene que intervenir la autoridad para liberar al caballero de la triste forma de su situación. En el proceso, Don Quijote resulta gravemente herido.

Ya basta, piensan los bien intencionados, y traen de vuelta a su casa al anciano, enfermo física y psíquicamente. En la marcha, a través de los vecinos de su pueblo natal, se expone al ridículo de su comunidad natal en una jaula. En su casa, se destruyen sus sueños con el incendio de su biblioteca. Profundamente conmocionado, Don Quijote muere. Después de todo, el último libro también fue víctima de las llamas. Pero este último libro, que cuenta su propia historia, resurge como un ave fénix de las cenizas y vuelve a la vida. Acaba de nacer la leyenda de Don Quijote, el noble caballero.

Monday, November 03, 2025

Die weisse Hölle der Piz Palü / The White Hell of Pitz Palu (1929) (1997 restoration Bundesarchiv Filmarchiv / Stiftung Deutsche Kinemathek / Taurus-Film)


Arnold Fanck & G. W. Pabst: Die weisse Hölle der Piz Palü / The White Hell of Pitz Palu (DE 1929) Photo: Hans Casparius.

Arnold Fanck & G. W. Pabst: Die weisse Hölle der Piz Palü / The White Hell of Pitz Palu (DE 1929). Photo: Hans Casparius. Bundesarchiv, Bild 102-13954 / CC-BY-SA 3.0

L'Enfer blanc du Piz Palu / Prisonniers de la montagne / Valkoinen helvetti / Lavinen (Swedish premiere title) / På fjället i storm (Swedish reissue title).
    DE 1929 H. R. Sokal-Film GmbH (Berlin). Produzent: Henry Sokal. Aufnahmeleitung: Heinz Landsmann.
    Regie: Arnold Fanck, G. W. Pabst. Regie-Assistenz: Paul Falkenberg, Mark Sorkin. Drehbuch: Arnold Fanck, Ladislaus Vajda. Idee: Arnold Fanck. Kamera: Sepp Allgeier, Richard Angst, Hans Schneeberger - 35 mm, s/w, stumm. Standfotos: Hans G. Casparius. Bauten: Ernö Metzner. Musik: Giuseppe Becce (Kino-Musik - 1935), Willy Schmidt-Gentner (1929), Ashley Irwin (1998). Schnitt: Arnold Fanck, Hermann Haller.
    Darsteller
Gustav Diessl / Dr. Johannes Krafft, der Alleingänger
Leni Riefenstahl / Maria Majoni
Ernst Petersen / Hans Brandt
Ernst Udet / Flieger Udet
Mizzi Götzel / Maria Krafft
Otto Spring / Bergführer Christian Klucker
Kurt Gerron / Mann im Salon
    7 Akte, 3330 m. ZDF Arte 1998 edition: 133 min
    Dreharbeiten: Januar 1929 - Juni 1929. Bernina (Bernina Massiv - Schneeregion) and Engadin, Kanton Graubünden, Switzerland.
    Erstverleih: Aafa-Film AG Sonderverleih (Berlin)
    Uraufführung (AT): 11.10.1929, Wien [13 Kinos]
    Finnish premiere: 18 Aug 1930
    1997 restoration Bundesarchiv Filmarchiv / Stiftung Deutsche Kinemathek / Taurus-Film. 1998 Musik: Ashley Irwin. Deutsches Filmorchester Babelsberg. Conductor: Frank Strobel.
    2013 dvd release: Zweitausendeins, "Der Deutsche Film", 1/1929. 
    ZDF Arte edition © 1998 viewed on YouTube at home in Helsinki, 3 Nov 2025.

AA: Arnold Fanck is at his most magnificent in The White Hell of Piz Palü. He was in charge of the exteriors while G. W. Pabst covered the interiors.

It is a story of hubris and nemesis. The veteran mountain guide Christian Klucker (Otto Spring) warns the newlyweds: don't be foolhardy. But they are, and Maria Krafft (Mizzi Götzel) falls to the abyss. Johannes Krafft (Gustav Diessl) becomes "a ghost of the mountains" for the rest of his life, trying to find the icy grave of his beloved. 

Four years later, another couple, engaged to be married, visit the mountains: Maria Majoni (Leni Riefenstahl) and Hans Brandt (Ernst Petersen). They are intrigued by Johannes and join him as he is about to scale the formidable north wall of Piz Palü ("the pale mountain"). Six students from the University of Zürich try the same, but they get killed in an avalanche.

A tragic romance that also belongs to the cinema of attractions and is also a nature film, sport film and an action thriller. As always in Fanck, the aesthetic category is the sublime. The nature is awesome, breathtaking, overwhelming, lethal, catastrophic. This is also a Kantian film: the destiny of the human reason is to pose itself questions that transcend its own limits.

Most enduringly, Piz Palü is a work of visual poetry. The notorious wind dangerous for Alpinists called der Föhn. The shadows of the clouds, the melting snow, the breaking glaciers, the caves and the ravines, the ice flowers on the frozen windows, the torches of the search party illuminating the snow at night. The dance of the glowing clouds often on benevolent display. But the heavenly apparitions can suddenly turn into lethal snowstorms. 

Memorable visual details include the "wooden bird" crafted by Johannes with his knife for Maria Majoni for better tinder. And the extended close-up of the snow melted by Maria that turns into boiling water for the tea. Also the parachutes delivered by Ernst Udet carrying champagne for the newlyweds and provisions for the survivors. Shot by the veterans Sepp Allgeier, Richard Angst and Hans Schneeberger, Piz Palü is photogenie all around. So much that it is like magic and borders on the phantasmagoria and the cinefantastique. It also gets close to the mythic.

Arnold Fanck was not the greatest director of actors, but G. W. Pabst contributes nuance and detail to the characters. The humoristic approach to the question of the single bed for three. How Hans rolls Maria Majoni from the cold wall to the warmest spot. How Maria's head turns on Johannes's hand while asleep. In the morning he gently releases his hand without waking her up. Pabst conveys the strange dreams and emotions of the night with tender restraint. We sense the undercurrents, but this is not a triangle drama. Thanks to Pabst, Piz Palü might be Riefenstahl's finest movie as an actor. In the finale they achieve a remarkable extreme close-up where Riefenstahl's face is both enigmatic and revelatory, free from her usual self-control.

On the other hand, the doomed lovers Maria and Johannes Krafft stay forever young in their icy graves. Liebestod.

After Hitler's rise to power, Die weisse Hölle der Piz Palü was released in a shortened version from which for instance Kurt Gerron was eliminated. Later he was murdered in Auschwitz.

I saw this film and this handsome restoration for the first time. I am grateful for the care taken in this edition, complete with the original art titles. The most memorable of them is "Allein" ("Alone") 
expressing Johannes's original plan to take the North Face.

...
HANDLUNG (deutsche Wikipedia)

Maria Krafft, die Frau des Bergsteigers Dr. Johannes Krafft, stürzt wegen der Leichtfertigkeit des Paares in eine Gletscherspalte am Piz Palü und stirbt.

Einige Jahre später: Das frischvermählte Paar Hans Brandt und Maria Maioni begibt sich ebendort auf eine Bergtour. Sie quartieren sich in der einsamen Diavolezza-Berghütte ein. Der befreundete Kunstflieger Udet wirft für sie eine Flasche Sekt zum Feiern mit dem Fallschirm ab. Die erhoffte Einsamkeit wird durch das Auftauchen des Bergführers Christian und von Dr. Johannes Krafft vereitelt. Krafft, der den Tod seiner Frau nicht verwunden hat, besteigt immer wieder den Piz Palü und versucht die Nordwand alleine zu bezwingen, was ihm aber schon zweimal misslungen ist. Maria fühlt sich zu dem schweigsamen Mann hingezogen. Seine verunglückte Frau hieß ebenfalls Maria.

Am nächsten Tag begibt sich das Paar gemeinsam mit Krafft auf den Weg zur Nordwand des Piz Palü. Eine Gruppe von bergunerfahrenen Studenten folgt ihnen, doch werden sie von einer Lawine in die Tiefe gerissen. Keiner der jungen Männer überlebt.

Hans, dem Marias offensichtliche Zuneigung zu Krafft zunehmend missfällt, möchte beweisen, dass auch er „ein Mann“ ist und übernimmt trotz Kraffts Warnung die Führung der Gruppe. Als er abstürzt, kann er gerade noch aufgefangen werden. Krafft bricht sich bei Hans’ Rettung ein Bein. Hereinbrechende Stürme, Steinschlag und Lawinen sowie Kraffts und Brandts Verletzungen machen einen Abstieg unmöglich. Auf einem Felsvorsprung harren die Vermissten drei Tage und Nächte aus. Hans erleidet einen Zusammenbruch und muss gefesselt werden, damit er sich in seiner Verwirrung nicht in die Tiefe stürzt. Dr. Krafft überlässt Hans seine wärmende Jacke. Der Flieger Udet entdeckt das Trio schließlich, doch die an Fallschirmen abgeworfene Verpflegung verfehlt ihr Ziel. Aber er kann den Bergrettern die Position der Verunglückten zeigen.

Krafft legt sich in einiger Entfernung in den Schnee, wo er erfriert. Der ausgesandte Rettungstrupp findet das Paar und bringt es ins Tal. Christian findet Kraffts Notizbuch, in dem er die Nachricht hinterlassen hat, dass man ihn nicht suchen solle.

Sunday, November 02, 2025

Paracelsus (2015 Kino Lorber blu-ray)


G. W. Pabst: Paracelsus (DE 1943) with Werner Krauss.

DE 1943 Bavaria Filmkunst GmbH (München-Geiselgasteig). Produktionsleitung: Fred Lyssa. Aufnahmeleitung: Willy Laschinsky.
    Regie: G. W. Pabst. Regie-Assistenz: Auguste Barth: Drehbuch: Kurt Heuser. Kamera: Bruno Stephan – 35 mm, 1:1,37, s/w. Kamera-Assistenz: Herbert Stephan. Bauten: Herbert Hochreiter, Walter Schlick. Kostüme: Herbert Ploberger. Schnitt: Lena Neumann. Ton: Emil Specht. Musik: Herbert Windt. 
    Darsteller: Werner Krauß (Paracelsus), Mathias Wieman (Ulrich von Hutten), Annelies Reinhold (Tochter Renata Pfefferkorn), Harald Kreutzberg (Gaukler Fliegenbein), Peter Martin Urtel (Famulus Johannes), Fritz Rasp (Magister), Josef Sieber (Knecht Bilse), Harry Langewisch (Reicher Handelsherr Pfefferkorn), Herbert Hübner (Reichsgraf von Hohenried), Rudolf Blümner (Buchhändler Froben), Karl Skraup (Chirurg), Franz Schafheitlin (Erasmus), Erich Dunskus (Wirt), Victor Janson (Bürgermeister), Hilde Sessak (Schankmädchen), Egon Vogel (Urias), Arthur Wiesner (Rossarzt), Franz Stein (Arzt), Hans von Uritz (Hauptmann), Bernhard Goetzke (Oskar Höcker), Maria Hofen (Klaus Pohl), Joachim Wedekind.
    2916 m / 106 min
    Dreharbeiten: 7.7.1942 – Oktober 1942.
    Erstverleih: Deutsche Filmvertriebs GmbH (DFV) (Berlin).
    Berliner Erstaufführung: 6.5.1943, Berlin, Roxy-Palast Friedenau.
    Not released in Finland.
    Material: Bundesarchiv-Filmarchiv / Friedrich-Wilhelm-Murnau-Stiftung.
    Digital mastering 2K: CinePost.
    Kino Lorber blu-ray 2015.
    Viewed at home, Helsinki, 2 Nov 2025.

AA: Directed by G. W. Pabst, Paracelsus appears as a continuation to the great legacy of Weimar cinema. The most obvious link is the cast. In the title role is Werner Krauss, whom we remember as both Dr Caligari and the patient in Pabst's Geheimnisse einer Seele. Fritz Rasp was a Pabst regular in Die Liebe der Jeanne Ney, Tagebuch einer Verlorenen and Die 3-Groschen-Oper. Further familiar Weimar faces include Mathias Wieman, Victor Janson and Bernhard Goetzke.

Of Weimar artists, Paracelsus comes closest to Murnau. The model for the mythical Renaissance figure of Faust was Paracelsus. Both Murnau's Faust and Nosferatu include sequences of the Black Plague.

The intensity and drive is higher than in Pabst's previous film The Comedians. In several sequences and scenes he is at his best. Paracelsus is well directed, the mise-en-scène is dynamic, and there is vitality in the performances. A joy of creation can be felt. This is a lavish historical biopic with high production values, but it is never boring or crushing under the weight of its own ambition.

Historical accuracy may have been sacrificed for panache, but I am happy to discover among the characters Paracelsus's contemporary Erasmus of Rotterdam, a voice of humanism in a movie made in a year of deepest Nazi terror.

I appreciate Pabst's sympathy for the suffering of the poor and marginalized in the opening and the finale. This vision is the opposite of the Euthanasia Project of the Nazis and the Superman ideology. The heart of Pabst and Paracelsus is with the weak and the suffering, not with the powers-that-be. "Mich braucht das Volk".

I also empathize with the joy of Paracelsus for the opportunity to teach. He is energized by the young people's passion to learn. The sequence at the Basel University is a celebration of the joy of teaching. The principles of Paracelsus are unorthodox. "The highest is love". This reminds me of Freud and could be a clandestine reference to him. "The enemy is death".

Paracelsus is an admirer of female beauty. Pabst is yet again a director of a unique female performance: Annelies Reinhold as Renate. The first exchange of looks between Renate and Famulus Johannes is memorable. And when Paracelsus sees Renate for the first time, he is also stunned and sees in Renate a reminder of God's design. Renate is a joy to behold but not primarily an object of gaze. Her agency is crucial.

The anthology piece is the dance of death, complete with flagellants. The sequence conveys genuine joy while dancing on a volcano. The Grim Reaper sharpening his scythe belongs to the lasting shock images of German cinema. Paracelsus was in production during the Battle of Stalingrad.

Paracelsus is a biopic about a controversial healer during a pandemic, an epic poem about love and death, combining visual power and a sense of humour.

The visual quality of the blu-ray is polished with a slightly strange graininess in the image.

...
Handlung (deutsche Wikipedia)

Mitteleuropa zu Beginn des 16. Jahrhunderts. Der durch die Lande reisende Basler Arzt Theophrastus Bombastus von Hohenheim, genannt Paracelsus, hat in einer freien Reichsstadt Halt gemacht. Seine Heilungsmethoden, Vorläufer der ganzheitlichen Medizin, sind seinen ärztlichen Kollegen suspekt und ein Dorn im Auge. Denn anders als diese, für die die medizinischen Lehren der Fakultäten heilig und unumstößliches Gesetz sind, entwickelt er eigene Theorien in der Heilkunde, die auf praktische Erfahrungen, Forschungen und Erkenntnissen beruhen. Für ihn steht der Mensch als Ganzes im Vordergrund seiner Betrachtungen und Analysen, und mit seinen daraus resultierenden Behandlungsmethoden hat Paracelsus im Spätmittelalter beachtliche Erfolge aufzuweisen.

Als es ihm gelingt, den von allen Ärzten aufgegebenen Buchhändler Froben zu heilen, ist seine Lehre in aller Munde. Das Volk achtet und schätzt ihn, und dementsprechend steigt die Anzahl seiner Feinde unter den konventionell praktizierenden Medizinern rasant. Darunter fällt auch der Handelsherr Pfefferkorn: er verübelt Paracelsus, dass dieser die Stadttore aus Seuchenschutzgründen schließen ließ, um den drohenden Einzug der Pest zu verhindern. Neid und Missgunst schlagen Paracelsus immer stärker entgegen, seine mächtigen Gegner beschuldigen ihn der Scharlatanerie. Vor allem der bisher tonangebende Mediziner der Reichsstadt, der Magister, der dem armen Froben soeben ein Bein amputieren wollte, ehe Paracelsus eingreifen und ihn vor dem rückständigen Kurpfuscher retten konnte, reift zu seinem ärgsten Feind heran. Denn Paracelsus hat nach diesem Erfolg den Magister in dessen Position abgelöst.

Da kommt es seinen Widersachern nur allzu gelegen, dass der engste Mitarbeiter von Paracelsus, der ehrgeizige Famulus Johannes, bei einem eigenmächtigen Heilungsversuch ohne Wissen von Paracelsus ein noch unerprobtes Elixier seines Lehrers verwendet. Der damit behandelte, erneut erkrankte Froben stirbt infolgedessen. Paracelsus‘ Widersacher sehen jetzt ihre Chance gekommen, den verhassten Kollegen ein für alle Mal loszuwerden. Sie lassen den unschuldigen Arzt einsperren, auch wenn Paracelsus von den einfachen Menschen, der Stadtbevölkerung, längst als Erlöser betrachtet wird. Mit Hilfe des Gauklers Fliegenbein, der zu den erfolgreich behandelten Paracelsus-Patienten gehört, kann der verkannte Arzt dem Gefängnis entfliehen. Paracelsus geht wieder auf Wanderschaft und heilt fortan, in aller Bescheidenheit lebend, die kranken Menschen, denen er auf seinen Reisen begegnet. Selbst ein Angebot des Kaisers, als Leibarzt an dessen Hof zu kommen, schlägt Paracelsus aus. Er wolle fortan nur noch dem einfachen Volk dienen.

Komödianten / The Comedians

 
G. W. Pabst: Komödianten / Comedians (DE 1941). Käthe Dorsch (Caroline Neuber), Hilde Krahl (Philine Schröder), Henny Porten (Duchess Amalia von Weissenfels).

DE 1941 Bavaria Filmkunst GmbH (München-Geiselgasteig). Produzent: Hans Schweikart.
    STAB
    Regie: G. W. Pabst. Drehbuch: Axel Eggebrecht, Walther von Hollander, G. W. Pabst – Vorlage: aus dem Roman Philine von Olly Boeheim. Kamera: Bruno Stephan – s/w – 1:1,37. Bauten: Julius von Borsody, Herbert Hochreiter. Kostüme: Maria Pommer-Uhlig. Musik: Lothar Brühne. Schnitt: Ton: Emil Specht (mono). Rudolf Grisebach.
    BESETZUNG
Käthe Dorsch: Caroline Neuber
Hilde Krahl: Philine Schröder, ihre Schülerin
Henny Porten: Herzogin Amalia von Weißenfels
Richard Häussler: Baron Armin von Perckhammer, ihr Neffe
Gustav Diessl: Ernst Biron, Herzog von Kurland
Friedrich Domin: Johann Neuber, Carolines Ehemann
Ludwig Schmitz: Müller, der Hanswurst
Lucy Millowitsch: Demoiselle Lorenz
Bettina Hambach: Victorine, Komödiantin
Walter Janssen: Koch, Komödiant
Viktor Afritsch: Graf Paul Teuchan, Armins Onkel
Kurt Müller-Graf: Gotthold Ephraim Lessing
Harry Langewisch: Professor Gottsched
Arnulf Schröder: Klupsch, Ratsherr in Leipzig
Hans Stiebner: Schröder, Philines Vormund
Kurt Stieler: Kammerherr der Herzogin
Erich Dunskus: General beim Herzog v. Kurland
Karin Evans: Vera
Janne Furch: Komödiantin
Ullrich Haupt: Komödiant
Nikolai Kolin: betrunkener Russe
Leopold von Ledebur: russischer Feldmarschall
Ernst Legal: Leibarzt der Zarin
Reginald Pasch: russischer Begleiter
Erna Sellmer: Amme Armins
Alexander Ponto: Kohlhardt, Komödiant
Sonja-Gerda Scholz: Die ‘Feigin‘, Komödiantin und Köchin
    3013 m / 111 Min
    Dreharbeiten: 21.10.1940 – April 1941 München und Salzkammergut.
    Uraufführung: 5.9.1941 Berlin, Ufa-Palast am Zoo.
    Festival premiere: 14 Sep 1941 Venice Film Festival.
    Not released in Finland.
    Rarefilmsandmore.com dvd.
    Dvd viewed at home, Helsinki, 2 Nov 2025.

Bonus: "Deutsche Wochenschau 10". Apparently a Die Deutsche Wochenschau compilation from June through October, 1941, ending with footage from DW 580/1941: Die Deutsche Wochenschau Nr. 580, 43, 1941. Z.: 16.10.1941; 451 m - Ton

AA: There is Nazi propaganda on this Rarefilmsandmore dvd – the bonus material, a compilation version of Die Deutsche Wochenschau from June through October 1941 covering the irresistible enthusiasm of all Europe to join the biggest war campaign in history, Hitler's Feldzug nach Osten – Operation Barbarossa. This newsreel is a passionate call to join it. Final victory on the Nazis' arch-enemy, the Bolsheviks, is unavoidable. It is fascinating to study the synopsis of the original newsreels DW 564-580*. Many entries detail Holocaust subjects, but they have been edited out of this compilation. This edition climaxes on an electrifying passage on the Finnish-German Waffenbrüderschaft in Lapland, in Salla, the White Sea and the Onega Bay. I don't think I have ever seen this before. Cinematically the newsreel is excellent. I am reminded of Siegfried Kracauer's assessment of Nazi war newsreels in From Caligari to Hitler. He found them superior to the ones by the Allies, because they were drawing on the great secret of the Weimar cinema in creating purely visual cinema. In the service of a war of destruction against all that was valuable in Weimar culture.

I was surprised to see the much vilified Komödianten. The film is not what its critics claim it to be. I am a journalist by profession, and a critic, and try to be wary of delusions and biases in our profession. We create scapegoats, join persecutions and participate in smear campaigns. We are cowards and bully victims perceived too weak to defend themselves. Such as dead people. Once someone has been smeared and denigrated and nobody comes to the defense, s/he is fair game. Confirmation bias galore.

G. W. Pabst seems like a prime example of the "fair game" dilemma. Anything can be said, and nobody defends him.

In authoritarian countries, propaganda films are usually not very popular, because most people hate propaganda. Most films are innocuous entertainment, devoid of anything obviously subversive. Musicals, comedies, fairy-tales, adaptations of classics and historical subjects are in demand. Film-makers also generally find propaganda assignments repulsive. They prefer neutral subjects.

In the Third Reich, Werner Hochbaum, Willi Forst and Helmut Käutner created films that were decent and conveyed the spirit of humanity and dignity even during the darkest years. I would argue that G. W. Pabst stayed that way also. He certainly hated his situation and tried to protect his freedom for instance by filming in Munich instead of Berlin.

The Comedians is a case in point. It is the story of the birth of a national theater in Germany. The protagonist is a historical figure, the theatre director and actor Caroline Neuber (1697-1760), also known as "die Neuberin". The dramatic contrast is based on her opposition to the lowbrow slapstick farce incarnated in the buffoon figure of the Hanswurst. 

Neuber wants high art, elevation of the theatre and serious commitment. The film story introduces authentic historical figures such as Lessing, the founder of the modern craft of the dramaturge, busy with Emilia Galotti, and an Empress of Russia (probably Catherine I).

Having just seen A Modern Hero I detect in The Comedians the familiar pattern of the woman as the center of gravity and men who are fickle and fraudulent.

Neuber has to stay independent from the wiles of men and politicians such as Ernst Biron, the Duke of Courland, who compares art and politics: "both want to rule the wills of people". A former lover of the Empress, he now wants to marry Neuber. He loves strong women, but Neuber knows that he would crush her. "Die Flamme wieder spüren". They feel the flame but stay out from each other.

Ernst Biron is played by Gustav Diessl, Pabst's acteur-fétiche. He appeared in Abwege, Die Büchse der Pandora, Die weisse Hölle der Piz-Palü, Westfront, Die Herrin von Atlantis, Komödianten and Der Prozess. Always intense, always special.

I felt that on a dream level, Neuber is Pabst and Duke Biron is Goebbels.

Komödianten is a tragedy. Neuber never gives up. She is crushed and dies abandoned in the gutter. It is a story of a victory in defeat. She becomes immortal as the spiritual mother of the German theatre, an inspirer of Lessing and the art and craft of dramaturgy globally.

It's a man's world of brutal violence, but the victory of the spirit belongs to the women.

I am grateful for Rarefilmsandmore for access to this film. The visual quality: like a low definition teletranscription.

...
HANDLUNG AUS DEM DEUTSCHEN WIKIPEDIA

Deutschland, 18. Jahrhundert: Die Schauspielerin Caroline Neuber, genannt die Neuberin, leitet eine eigene Bühnentruppe. Ihr Ziel ist, die hohe Kunst, das ernsthafte Theater durchzusetzen. Doch bedauerlicherweise ist die Figur des Hanswursts – ihrer heißt mit Realnamen Müller – im Deutschland des 18. Jahrhunderts die populärste Person eines jeden Theaterstücks, und dessen Aufgabe ist es, durch komische und anzügliche Bemerkungen inmitten eines jeden Stücks die Menschen zum Lachen zu bringen. Da sie ihn der ernsten Kunst als abträglich empfindet, fasst die Neuberin sich ein Herz und entlässt ihn trotz aller Beliebtheit aus dem Ensemble. Von nun an lässt der Erfolg der Neuber-Truppe rapide nach, und erste Kollegen wandern ab – vor allem zum Hanswurst Müller, der jetzt seine eigene Schauspieltruppe auf die Beine stellen möchte.

Die Neuberin will mit Disziplin und kulturellem Auftrag unbedingt die ernsthafte Theaterkunst in deutschen Landen durchsetzen. Dieser Weg ist steinig und hart. Zu ihrer Truppe ist unlängst die junge Philine Schröder gestoßen, die bereits mit kleinen Rollen bedacht wird. Sie floh einst vor ihrem Vormund, der sie verkuppeln wollte. Sie ist verliebt in den für seine Frauengeschichten bekannten Baron Armin von Perckhammer, der es aber mit ihr ernst zu meinen scheint. Da Schauspieler zu dieser Zeit einen schlechten Ruf genießen, ahnt er, dass seine mächtige Tante, die Herzogin Amalia von Weißenfels, gegen eine als unstandesgemäß empfundene Ehe massiv Einspruch erheben dürfte. Vielmehr will die Tante Armin mit seiner Cousine Vera, der Tochter ihres Bruders, des Herzogs von Coburg, verheiraten. Doch Philine will nicht von ihrem Armin lassen, und so wird sie eines Tages auf Befehl der Herzogin verhaftet.

Nach einem Theaterauftritt stellt die Herzogin Caroline Neuber dem Herzog von Kurland, Ernst Biron, vor. Beide verlieben sich ineinander, obwohl die Neuberin noch verheiratet ist. Der Herzogin ist diese Mesalliance wie auch die sich anbahnende, aber vorerst verhinderte zwischen Baron Armin und Philine Schröder mehr als nur ein Dorn im Auge. Als die Neuberin argumentiert, dass die seriöse Schauspielkunst einen Menschen auf ein und dieselbe gesellschaftliche Stufe mit dem Adel stelle, ist der Bruch mit der standesbewussten Herzogin perfekt. Sie entzieht der Neuber-Truppe jegliche Unterstützung, gibt aber immerhin Philine frei. Caroline ist bald pleite, als ihr der Herzog von Kurland ein gut dotiertes Engagement nach Sankt Petersburg vermittelt. Doch nachdem sie erkennen muss, dass sie an der Seite ihres hochadeligen Geliebten als Künstlerin zum Scheitern verurteilt ist, flieht sie mit ihrer Truppe zurück nach Leipzig.

Doch dort erhält sie keine Auftrittsgenehmigung und muss sich nun mehr schlecht als recht mit Auftritten in Gartenlokalen durchschlagen. Als sie mit einem Stück über die Verbannung der Hanswurst-Figur aus dem zeitgenössischen Theater gastiert, kommt es zu einem regelrechten Tumult. Am Ende steht die Auflösung der Neuberin-Truppe, und die Künstler gehen getrennte Wege. Zurück an Carolines Seite bleiben nur noch ihr treuer Ehemann und ihre gelehrige Schülerin Philine. Die junge Nachwuchskünstlerin reist daraufhin heimlich nach Weißenfels ab und versucht dort, bei Herzogin Amalia, ein gutes Wort für Caroline Neuber einzulegen. Die Herzogin sagt ihre Unterstützung zu, doch als man auf der Suche nach dem Ehepaar Neuber ist, sind beide verschwunden. Die Herzogin lässt im gesamten Land nach den beiden suchen. Desillusioniert, verarmt und entkräftet stirbt Caroline Neuber in den Armen ihres Mannes. Nunmehr zeigt sich auch die Herzogin bestürzt und gibt sogar ihren Segen für die Vermählung von Philine mit Baron Armin. Doch die junge Nachwuchskünstlerin fühlt sich dem unausgesprochenen Vermächtnis der Neuberin verpflichtet und will sich fortan nur noch der hohen Kunst widmen. Die Gründung eines Deutschen Nationaltheaters, ganz ohne Hanswurste, ist beschlossene Sache.

...
* Findbücher zu Beständen des Bundesarchivs: Band 8: Wochenschauen und Dokumentarfilme 1895-1950 im Bundesarchiv-Filmarchiv, neuarbeitet von Peter Bucher. Koblenz, Bundesarchiv 1984, Nachdruck 2000. pp. 132-134.

A Modern Hero (2018 Warner Archive Collection dvd)


G. W. Pabst: A Modern Hero (US 1934). Jean Muir (Joanna Ryan Croy) and Richard Barthelmess (Pierre Radier / Paul Rader).
 
US © 1934 Warner Bros. Pictures Inc. 
    D: G. W. Pabst. Dialogue D: Arthur Greville Collins. SC: Gene Markey & Kathryn Scola – based on the novel (1932) by Louis Bromfield. Cin: William Rees – b&w – 1:1,37. AD: Robert M. Haas. Cost: Orry-Kelly. M: Heinz Roemheld (n.c.). Conductor of Vitaphone Orchestra: Leo F. Forbstein. S: mono. ED: James Gibbon.
    C: Richard Barthelmess (Pierre Radier / Paul Rader), Jean Muir (Joanna Ryan Croy), Marjorie Rambeau (Mme Azais), Verree Teasdale (Lady Claire Benston), Florence Eldridge (Leah Ernst), Dorothy Burgess (Hazel Flint Radier), Hobart Cavanaugh (Henry Mueller), William Janney (Young Pierre Croy), Arthur Hohl (Homer Flint), Theodore Newton (Elmer Croy), J. M. Kerrigan (Mr. Ryan), Maidel Turner (Aunt Clara Weingartner), Mickey Rentschler (Young Pierre as a Child), Richard Tucker (Mr. Eggelson), Judith Vosselli (Mrs. Eggelson), Theresa Harris (Leah's maid).
    71 min
    Production ended 20 Dec 1933.
    Distribution companies: Warner Bros. Pictures, Inc. ; The Vitaphone Corp.
    U.S. premiere: 3 April 1934.
    Not released in Finland.
    A Warner Archive Collection dvd released in 2018.
    Dvd viewed at home, 2 Nov 2025.

AA: In Die 3-Groschen-Oper / The Threepenny Opera (DE 1931) G. W. Pabst worked for Warner Bros. Pictures GmbH (Berlin), which produced the movie in collaboration with Tobis. In 1933 the film was banned by the Nazis, who destroyed the negative and all prints they could get their hands on. When Hitler rose to power Pabst was in France directing a series of internationally co-produced films.

In 1933 Pabst was invited to direct for Warner Bros. in America. Though known for his criticism of the Hollywood studio system, Pabst accepted the invitation. The Burbank experience was unhappy for all involved. The director of The Joyless Street and The Threepenny Opera might have had a connection with the hard-boiled Warner Bros. studio style, but the match failed. Pabst did not accept the screenplay nor the casting, but he directed the assignment dutifully and professionally. Pabst as the editor of his own films was known as the master of "the invisible cut". He cut in movement, achieving a smooth continuity. Warner Bros. imposed its own signature staccato edit to the movie.

What the priorities were for Warner Bros. we can read from the poster above. The name above the title is Richard Barthelmess. Below the title: Louis Bromfield. Further below: Jean Muir. The rest is in small print.

Richard Barthelmess is never at home in his role as Pierre Radier / Paul Rader, which is kind of the point of the film. But he never feels at home in his own skin. He is a stranger in his own life. He is insincerity incarnate.

The film belongs to the female cast. The greatest performance is by Marjorie Rambeau as the mother of Pierre / Paul. Jean Muir is excellent as Joanna, Pierre's first love and the mother of his son. Florence Eldridge impresses as Leah, the wealthy widow. Finally there is the refined Dorothy Burgess, the daughter of a financier. All Pierre betrays, and by so doing he betrays himself the most.

The women speak truth to Pierre, but he does not listen to them. "You are a real love child". "Being a woman ain't much fun". "I'm sorry for any woman who gets mixed with him". "He ain't the same person". "Is the past always finished?" 

The plot involves a crash course of history from the breakthrough of the automobile to World War One to the Roaring Twenties and the Wall Street Crash. This brings to mind The Roaring Twenties the movie. Other associations include Back Street and The Power and the Glory.

Pabst juxtaposes the circus world with the Wall Street world. The sympathy for the circus world is the most affecting aspect of the movie next to the four leading female performances.

But A Modern Hero is an unfulfilled film. A studio hack might have turned a better result. Pabst refused to be a hack, and Warner Bros. refused him the freedom he required.

The dvd is based on a straight digital transfer of materials of variable quality, including perhaps 16 mm or telecine sources. It is perfectly watchable but a long way from Pabst's Weimar glory.

SYNOPSIS FROM AFI CATALOG ONLINE:

Circus bareback rider Pierre Radier meets small town woman Joanna Ryan, and they have a brief affair, which leaves her pregnant. Although Pierre offers to marry her, Joanne refuses, preferring to marry a more stable local man who knows about her pregnancy. 

Pierre has long wanted to leave the circus, even though his alcoholic mother, Madame Azais, advises against it. When Henry Mueller, the circus handyman, asks Pierre to join him in a business venture, Azais refuses to lend Pierre the necessary money. 

While secretly visiting Joanna after the birth of her baby son, Pierre meets Leah Ernst, a wealthy widow who falls in love with him. Pierre begins an affair with Leah and she lends him the money to open a bicycle shop with Mueller. The shop is a big success, but Mueller is not satisfied. He designs an automobile, which catches the eye of financier Homer Flint. 

To cement the deal, Pierre marries Flint's daughter Hazel after ending his relationship with Leah. He also becomes an American citizen, changing his name to Paul Rader. Together Flint and Pierre start an auto factory. 

When he is playing golf one day, Pierre meets his son, Pierre Croy, who is now a young boy. He asks Joanna to allow him to adopt the boy, but she refuses, convinced he will have a better life on the farm.

Pierre continues to amass money, and when World War I starts, he diversifies into munitions. He sends his son gifts, and when Pierre, Jr. is old enough, sends him away to school. His marriage to Hazel is not a success, and soon he is spending his time in New York visiting with his son and a series of attractive women. 

Carried away with a sense of his own importance and invulnerability, Pierre invests his and Flint's money in stocks. After his son is killed driving the car he gave him for his birthday, Pierre's life starts to fall apart. 

Hazel discovers Pierre, Jr's parentage, and finally ends her marriage. Pierre loses all his money in stock speculation as well as that of his father-in-law. 

Joanna blames Pierre for the death of her oldest son. Penniless and friendless, Pierre seeks out his mother, who is now making a living as a fortune-teller. They plan to return to Europe, where Pierre hopes he will be worthy of her.

Sunday, October 26, 2025

Helsinki Book Fair, 23-26 Oct 2025



Helsinki Book Fair 2025. President Alexander Stubb at the Senaatintori stage discusses his book The Triangle of Power. Photo: Helsingin Kirjamessut.

The Helsinki Book Fair at the Helsinki Expo and Convention Centre was held over four days on 23-26 October 2025. It is the largest literary event in the Nordic countries in terms of visitor count. There were a record 104,516 visits to the fair, plus 15.000 online viewings. There were 1.000 programmes across 17 stages, with nearly 1,700 performers. The visitor count was 7% higher than last year.

Some of my experiences:

THURSDAY 23 OCT 2025

13.00  LONNA
Martti Anhava, Kari Hotakainen / Touko Siltala

Anton Chekhov / Anton Tšehov: Onni: valitut novellit 1880-1903 [Happiness: Selected Short Stories 1880-1903]. 1100 pp. Edited and translated by Martti Anhava. Hard cover. Helsinki: Siltala & Sanavalinta, 2025.

A literary highlight of the year is the publication of the largest ever Finnish edition of Anton Chekhov's short stories. The translator is our Chekhov maestro himself, Martti Anhava, who has also published a three-volume set of Chekhov's letters with excellent commentaries, a selection from Chekhov's notebooks, and a translation of the four great plays. According to my estimate, Chekhov wrote 605 short stories (according to Anhava, 580), of which a third have been translated into Finnish. Many stories even from his golden years 1888-1903 have never been translated. In this weighty tome there are 52 stories, of which 21 for the first time in a Finnish Chekhov collection. Intriguingly, also selections of the very earliest writings are included, such as his piece Number 2 "What is most often found in novels, stories, etc.?" (1880). I would instantly start to carry this book with me for tram reading, but the unwieldy size makes it impossible. I object to the current Finnish trend to publish as single volumes books that would require two or three. They may look grand, but they are not meant for readers.

13.30 LONNA
Lauri Timonen / Mia Öhman



Lauri Timonen: John Ford I - vuodet 1894-1949 [John Ford I - the Years 1894-1949]. 668 pp. Soft cover. Helsinki: Rosebud, 2025.
Lauri Timonen: John Ford II - vuodet 1894-1949 [John Ford I - the Years 1894-1949]. Pp. 669-1441. Soft cover. Helsinki: Rosebud, 2025.

The miracle man among Finnish film historians is Lauri Timonen. He followed Peter von Bagh as the editor-in-chief of Filmihullu magazine which has kept him busy. But his even more prominent film writing career has emerged in monographs of great artists. There is a book on Jean Seberg, but the main continuity is in ambitious trilogies. What I call his "Finnish trilogy" consists of volumes on Aki Kaurismäki, Matti Pellonpää and Matti Ijäs. He himself calls his "European trilogy" the mighty books on Fassbinder, Fellini and Bresson. His 900-page Bresson book might be the most comprehensive in any language. This year Timonen has published two huge volumes (totalling 1441 pages) about John Ford. There is a formidable legacy of books about John Ford, and Timonen seems to know them all. His books might be the most extensive study of Ford's films, which is saying a lot. I like his touch. He knows the subject well but pursues an easy-going drive.

15.00 SUOMENLINNA
Ilkka Taipale / Antti Rinne, in the presence of Kalevi Suomela and the Mechelin family.


Leo Mechelin (1839-1914): Kootut teokset / Samlade arbeten 1-9 [Collected Works 1-9]. Edited by Raimo Savolainen. Chairman of the Mechelin Foundation: Ilkka Taipale. Vice-chair of the Mechelin Foundation: Kalevi Suomela. Hard cover. Helsinki: Rosebud, 2025.

Leo Mechelin (1839-1914) was a great statesman whose contribution was crucial in the Finnish fight for its autonomy and the defense of the rule of law in the process that finally led to independence. He was also active in the international peace movement. He was a long term Senator. In the Estates, he first represented the bourgeoisie, then the nobility, and since 1906 in the first Parliament he represented the Swedish People's Party of Finland. He was what we would now call the prime minister in the "Mechelin senate" of 1905-1908 that achieved the first democratic parliamentary election of the country, complete with full political rights for women and the first female members of parliament in the world. In 1910 he received the most votes in the parliamentary election. He was a major international peacemonger and participated in the 18th Universal Peace Congress in Stockholm in 1910 and the 19th Congress in Geneva in 1912.

I participated in the event because of Ilkka Taipale (born in 1942) whose newest book, Sinisilmäinen pasifisti: kirjoituksia seitsemältä vuosikymmeneltä [Blue-Eyed Pacifist: Writings from Seven Decades] (Rosebud Books, 2024, edited by Kalevi Kalemaa) was supposed to be discussed in this event according to the original schedule. This was a precaution since it had not been confirmed that the Mechelin volumes would be ready in time, but they were indeed. Taipale is a hero of the same stature as Mechelin, a visionary behind the Finnish welfare miracle since the early 1960s. A book edited by him, 100 sosiaalista innovaatiota Suomesta: kuinka Suomesta tuli Suomi [100 Social Innovations from Finland: How Finland Became Finland] (Into, 2006 / 2017) is one of my greatest favourites. It is not just a list of those innovations. There is a vision much more profound about how all those innovations intersect to create a happy society. The book is both pragmatic and idealistic. It is also well written. A book worth rereading especially now.


Ilkka Taipale: Sinisilmäinen pasifisti: kirjoituksia seitsemältä vuosikymmeneltä [A Blue-Eyed Pacifist: Writings from Seven Decades]. 240 pp. Edited by Kalevi Kalemaa. Helsinki: Rosebud Books, 2024.


Ilkka Taipale: Sata innovaatiota Suomesta: kuinka Suomesta tuli Suomi [A Hundred Innovations from Finland: How Finland Became Finland]. 350 pp. Helsinki: Into 2006 / 2017.

16.00 SENAATINTORI
Neil Hardwick / Sanna Kangasniemi


Neil Hardwick: Poistetut kohtaukset: muistelmat [Scenes Deleted: Memoirs]. Translated from the English original by Tero Valkonen. 222 pp. Helsinki: WSOY 2025.

Neil Hardwick is a living legend and a grand old man of Finnish television, also a beloved theater director and a director of one of the rare Finnish film musicals Jos rakastat. The director, playwright and actor is a true innovator in Finnish comedy and drama known for his wit and sense of humour but also with an access to darkness. Series such as Tankki täyteen, Parempi myöhään, Reinikainen, Sisko ja sen veli, Musta tuntuu, Niilin lähteillä, Kieli poskessa, Nyhjää tyhjästä and Pakanamaan kartta are household names in Finland. Their names are untranslatable because they are wordplays based on the Finnish language. Reinikainen even minted a new expression, "malli Reinikainen" ("model Reinikainen") about a people's police officer, inviting trust that can help justice. The opposite of Dirty Harry. The British nuclear physicist moved to Finland in 1969 because of love. The foreigner had an uncanny talent to understand the Finnish idiom in a new way. He was already established in television when Dennis Potter's The Singing Detective (1986) opened a new well of creativity in his work. His new book is a wistful memory journey. Hardwick does not bore us with thoroughness but inspires the reader with keywords.

17.00 SENAATINTORI
Hannu Harju, Kai Häggman / Mika Myllyaho



Hannu Harju: Jouko Turkka - narri, nero, nöyryyttäjä [Jouko Turkka - Fool, Genius, Humiliater]. 450 pp. Helsinki: Siltala, 2025.

Kai Häggman: Pahansisuinen - Jouko Turkan elämä [Bad-Tempered - the Life of Jouko Turkka]. 282 pp.  Helsinki: Tammi, 2025.

Jouko Turkka (1942-2016) was a visionary, demon talent, agent provocateur and enfant terrible in Finnish culture. He was even dubbed the "valtakunnansaatana" ["the Satan of the Nation"]. As a teacher and director he started with physical exercise, even in its extreme form, and his sadism hurt young and sensitive actors for life. A contemporary parallel in international culture might be Rainer Werner Fassbinder. Turkka's method was to start with conflict, sometimes against the theatre board or the city hall, sometimes zeroing in on the most vulnerable member of the cast. The outrage electrified the production to a new level. There was no room for indifference. Jouko Turkka was no stranger to controversy: he thrived in it and withered without it. He created unforgettable productions at the theatre, as professor of the Theatre Academy, on television and in the radio, he wrote books and plays. His unique short pieces called Aiheita [Motifs] enjoy perennial esteem. The first Jouko Turkka biography was written during his lifetime, but this year the first books of his entire life have been published. In the wake of Me Too, Turkka has been in renewed spotlight, not because of sexual harassment, but cowardly bullying of the young and vulnerable. The Janus-faced Turkka was also a true intellectual, fascinating in debate and dialogue.

FRIDAY 24 OCT 2025

15.00 ESPLANADI
Jorma Sairanen, Kalle Kinnunen / Susanne Päivärinta.


Jorma Sairanen & Kalle Kinnunen. Daddy Cool - viimeinen luku. Televisiovaikuttajan lopulliset muistelmat [Daddy Cool - the Last Chapter. The Final Memoirs of the Television Executive]. 352 pp. Helsinki: Teos 2025.

Jorma Sairanen the television executive emeritus has a privileged insight in the golden age of linear television in Finland. Until 1986 the only nationwide television channels belonged to the public broadcasting company Yle / Finnish Broadcasting Company. The Finnish MTV / Mainos-TV [Advertising TV / Commercial TV] shared the broadcast stream in a symbiosis until they started a channel of their own in 1993. During the transition, in 1986, Kolmoskanava (TV3) had been established in a partnership of Yle, MTV and Nokia. In 1993, it merged with MTV. In 1997, another commercial channel, Nelonen [Channel Four of Finland] was launched. Jorma Sairanen had executive positions in all these commercial channels during 1986-2014, involved in program planning, greenlighting major acquisitions and co-financing a hundred motion pictures. Before Me Too in the first edition of Daddy Cool in 2017 Sairanen was a pioneer in revealing the sexual harassment conducted by Spede Pasanen (1930-2001), the biggest name in Finnish entertainment and a holy cow of the Finnish MTV. Sairanen now tells about the hate mail he received. It is important to be aware of this culture of impunity, because it explains why most of the Me Too stories remain untold. There are no new revelations from this alley in the new book, a third of which is new material. The most rewarding are Sairanen's assessments of the new media culture. He retired at the apex of linear tv. We now live in the turbulence of streaming and the internet. Sairanen also offers a frank opinion of the condition of moving images in Finland. New to the book is a list of 15 top names in contemporary Finnish television and cinema. - The standard of the moderators Helsinki Book Fair is high. My favourite is Susanne Päivärinta, an experienced television moderator, now a member of the parliament, in which she also works in key committees. She is also a member of the board of the Finnish Broadcasting Corporation.

SATURDAY 25 OCT 2025

11.30 FISKEHAMNEN
Anna-Lena Laurén / Yukiko Duke


Anna-Lena Laurén: Medan kriget pågår finns ingen försoning [There is No Reconciliation While the War Goes On]. 200 pp. Helsingfors: Förlaget, 2025.

Anna-Lena Laurén is my favourite journalist in Finland. Her media include Hufvudstadsbladet, Svenska Dagbladet, Dagens Nyheter and Suomen Kuvalehti, and she has also worked for the Finnish Broadcasting Company. From 2006 until 2023 she was mostly stationed in Russia. When her visa was not renewed, she moved to Ukraine, and the year after to Berlin to take better care of her little daughter. She has written major books about Russia and Ukraine. Medan kriget pågår finns ingen försoning is her seventh book.

When Russia is on warpath, insider knowledge and information is even more important than in peacetime. Know well the one you are dealing with, in peacetime and even more importantly in wartime. This is a lesson we are ignoring. Hate takes away 80% of our wit, hate speech spreads stupidity even more, and "social media" is the nadir. Fatal mistakes happen because of ignorance (see Afghanistan, Iraq... the list goes on).

Writers such as Anna-Lena Laurén are priceless treasures.

14.00 BLÅBÄRSLANDET
Karin Helander / Pekka Heino


Karin Helander: Bergman bakom kulisserna: Ingmar Bergmans samarbeten på teatern [Bergman Behind the Scenes: Ingmar Bergman's Collaborations at the Theatre]. 352 pp. Hard cover. Stockholm: Appell förlag 2025.

Karin Helander, professor emerita in theatre studies at the University of Stockholm, approaches Ingmar Bergman's theatre work from a new angle: not as an achievement of a single genius but as collective work with art directors, actors, playwrights, translators, script editors, costume designers and technical engineers. The book, with illustrations from rehearsals and performances, is based on correspondence between collaborators but also with politicians, journalists and life partners such as Ellen Lundström, Käbi Laretei and Liv Ullmann. The letters are often dramatic in their own right. Bergman's arbetsböcker (workbooks) and interviews are sourced. We begin to understand a work mode based on paradoxes: authority and collaboration, discipline and playfulness, temperament and patient listening. Power play is a driving force, an interest in theatre politics is alive, and an interchange between theater and the cinema is a foundation for the art of direction. (From the Appell website).

16.00 TÖÖLÖ
Suomen Kirjailijaliitto: Suuri seksikeskustelu: miten kirjoittaa kiihottavasti? [The Great Sex Discussion: How to Write and Excite?]
Terhi Tarkiainen, Juri Nummelin / Salla Simukka.


Terhi Tarkiainen: Pidä mut [Keep Me]. 368 pp. Helsinki: Tammi.


Juri Nummelin: Kiiman kutsuhuuto: suomalaisen eroottisen ja pornografisen kirjallisuuden historia [The Mating Call: the History of Finnish Erotic and Pornographic Literature]. 313 pp. Espoo: Oppian, 2024

In the discussion about sex in (Finnish) literature I learned that the playing field has totally changed during the last 15 years. Taboos are broken, genres are transgressed, and female agency is increasing. Romance, fantasy, horror and science fiction are among the genres in which explicit sexuality is on the rise, and the books are very popular. Terhi Tarkiainen is an excellent example of this contemporary trend.

I keep thinking that this change happens during a period in which people are engaging in sex less than ever during my lifetime. Perhaps not independently from this people are having less and less babies. I wonder if the rise of literary sex is a part of the transition from the real to the virtual.

I would like to write at length about Juri Nummelin, but I would need several blog entries to even start covering his achievements. He has published more books than anyone in Finland. He is a serious film connoisseur. He goes against the grain. More about him later!

16.30 SUOMENLINNA
Erkki Tuomioja / Unto Hämäläinen


Erkki Tuomioja: Eino ja Mauno Pekkala: sosialidemokratian ja kommunismin välissä [Eino and Mauno Pekkala: Between Social Democracy and Communism]. 340 pp. Helsinki: Siltala, 2025

Erkki Tuomioja belongs to the cadre of Finnish politicians who can be ranked as statesmen. He is also busy as a writer, with pamphlets, weighty historical tomes and a comprehensive series of political diaries. The double biography of the brothers Eino and Mauno Pekkala belongs to his important works of Finnish political history, starting from the imperial years and culminating at the beginning of the Cold War. The world changed violently, as did Finland. In the Social Democratic Party the brothers refused to join the Civil War. They were left of center but kept a margin to Communists. During WWII they belonged to the Peace Opposition, against Finland Waffenbrüderschaft with Hitler. That is why they were in demand after the war, Mauno Pekkala as prime minister and Eino Pekkala as minister of justice. In 1927 Eino Pekkala had been kidnapped  from a meeting of the Commission of the Constitution (!) by extreme right vigilantes of the Lapua Movement. After the downfall of Nazism, Eino Pekkala did not pursue revenge but justice. The brothers were always defenders of the rule of law. Erkki Tuomioja has written a book in which reality is more thrilling than fiction.

17.00 SUOMENLINNA
Tuomas Hoppu / Juha Kanerva


Tuomas Hoppu: Hugo Salmela: vallankumouksen sanansaattaja [Hugo Salmela: a Harbinger of Revolution]. 276 pp. Tampere: Vastapaino, 2025.

Tuomas Hoppu is a distinguished historian who has written remarkable books about Finnish wars, including the little-known contribution of Finns to the First World War. Together with Pertti Haapala he has edited Sisällissodan pikkujättiläinen, a compact giant about the Finnish Civil War in 1918, one of my favourite books. Its approach to the extremely complex subject is magisterial. It is even a lesson of lucidity in complexity.

Now Hoppu has written the first biography of Hugo Salmela (1884-1918) who became the commander of the northern front of the Red Guard in the Civil War. He led the exceptionally ferocious defense of Tampere and was accidentally killed in an explosion before the end of the war.

Hoppu goes beyond cliches and stereotypes. Even in wartime people are more than the sum of their contradictions. Salmela was a man of culture, a successful man of the theatre and an activist in the trade union movement. He was a rebel for freedom and justice with no military training, but history pushed him to the frontline of the bloodiest front of the bloody Finnish Civil War. 


As I stumbled upon Panu Rajala, the authority and biographer of the great man of letters Mika Waltari (1908-1979), he gave me the yearbook of the Mika Waltari Society called Illusioni, after Waltari's breakthrough novel The Grand Illusion. At 220 pages, and 26 contributors, it is a rich survey into culture and history through the common protagonist. Themes include Egyptology, religion, France, Nazi Germany, Soviet espionage, horror, and Waltari's attitude to the cultural radicalism of the 1960s. Exemplary.

18.00 HAKANIEMI
Antti Blåfield, Erja-Outi Heino, Toni Stenström


Antti Blåfield & Erja-Outi Heino: Puola on samaa maata [untranslatable; "Poland Is a Country of Its Own"]. 270 pp. Helsinki: Siltala, 2025.


Toni Stenström: Puola ja Suomi: yhteistyön historia [Poland and Finland: History of Collaboration]. 346 pp. Helsinki: Rosebud Books, 2025.

The parallel histories and experiences of Poland and Finland are the subject of two new books by Antti Blåfield & Erja-Outi Heino and Toni Stenström. Our geopolitical destinies have been different, based on different setups with key countries such as Germany and Russia. In the 1930s Poland belonged to the authoritarian zone, while Finland kept its democracy. WWII was incalculably more devastating for Poland, as well as its aftermath as a buffer zone in the Cold War. After the Cold War Poland has flourished but has been at times closer to authoritarianism again. During all these periods, Polish culture, including the cinema, has been highly appreciated in Finland. Andrzej Wajda, Krzysztof Kieslowski and many others have been feted and welcomed. The authors of the new books provide a foundation for more profound understanding of Poland from the Finnish viewpoint.

SUNDAY 26 OCT 2025

12.00 KRUUNUNHAKA
SUOMEN KUVALEHTI: MILLOIN SIVISTYKSESTÄ TULI TAAKKA? [untranslatable: "When Did Bildung Become a Burden?"]
Arto O. Salonen, Johanna Vuorelma / Matti Kalliokoski



Helmi Jyrkkänen, Janne Kotiaho, Kyösti Ylikulju & Sanna Karkulehto: Sivistyksen vuoksi [untranslatable]. Contributors: Ilkka Niiniluoto, Tarja Halonen, M. A. Numminen, Jari Ojala, Arto O. Salonen, Ilona Herlin, Seela Sella, Jarkko Martikainen, Iikka Kivi, Sanna Karkulehto, Tiina Parviainen, Sami Kolamo, Anni Vuohijoki, Kari Silvola, Quivine Ndomo, Johanna Vuorelma, Kirsi Piha, Janne Riiheläinen, Tuija Saresma, Juha Hurme, Oras Tynkkynen, Julia Thurén, Sixten Korkman, Jussi Jäppinen, Kaj Nyman, Piia Viitanen, Yrjö Sepänmaa, Kaarlo Hildén, Hannu L. T. Heikkinen, Liia-Maria Raippalinna, Kerttu Kotakorpi ja Anni Sinnemäki. 304 pp. Helsinki: Into, 2025.

Writing in English, I register that the keyword does not exist in English. Sivistys in Finnish is Bildung in German. In English the German word is also used, also in the expression Bildungsroman. A semantic question and a philosophical question. The excellent first chapter of the book is by the senior philosopher Ilkka Niiniluoto who covers a lot of ground, including Cicero, Turgot, Humboldt and the great Finn J. V. Snellman. 

Whatever Bildung is, its must be constantly revived and reinvented. Arto O. Salonen stressed the responsibility of the limits of the planet based on the Aristotelian ideal of the golden mean. Johanna Vuorelma commented the topical over-emphasis on polarization. From a Finnish perspective, we have endured much more polarized times before. We can handle the current situation also.

I have been worrying about the downfall of culture in recent years. After the Helsinki Book Fair I am less worried. I did not feel polarization but discovered passion for the sake of culture emerging from different social orientations. I was happy to register many children and young people enthusiastic about the programme.

As for the question of this debate: Bildung should never be a burden. A war on culture and education is suicidal for a great nation, and even more so for a small nation. The nation of Finland was born as a culture project by J. V. Snellman and his contemporaries. The project was enthusiastically embraced by everybody. It was not an elitist project, on the contrary, it was a celebration of the creative talent of the people. I endorse the slogan of Juhana Vartiainen for the Helsinki Festival: "elitism belongs to everybody".

Saturday, October 11, 2025

L'ombra (1923) (2023 digital restoration based on a 2006 photochemical restoration / Museo Nazionale del Cinema in Turin & Cinémathèque Royale de Belgique)


Mario Almirante: L'ombra (IT 1923).

Mario Almirante: L'ombra (IT 1923). "Berta: Non guardate Voi padrino! Sono cose che non vi interessano." Don't look, Godfather! These matters so not concern you. Alberto Collo, Italia Almirante Manzini, Vittorio Pieri. Ed. Ballerini & Fratini, Firenze. Photo: Alba Film. Photo: Museo Nazionale del Cinema, Torino - Fototeca .

Mario Almirante: L'ombra (IT 1923). Paralyzed. "Berta: Gerardo io non sono più che un ombra nella tua vita... ". I am no more than a shadow in your life. Alberto Collo, Italia Almirante Manzini. Ed. Ballerini & Fratini, Firenze. Photo: Cinematek / Cinémethèque royale de Belgique, Bruxelles.

Mario Almirante: L'ombra (IT 1923). "La guarigione improvvisa. Berta: Dottore! Mi sembra di essere alta... alta... Ho il capogiro! Ho paura!". The sudden recovery. Domenico Marventi, Italia Almirante Manzini.Ed. Ballerini & Fratini, Firenze. Photo: Cinematek / Cinémethèque royale de Belgique, Bruxelles.

L’Ombre / De Schaduw / [The Shadow].
    IT 1923 prod: Alba Film, Torino. dir: Mario Almirante. scen: Mario Almirante, from the play by Dario Niccodemi (Milano, Teatro Alessandro Manzoni, 11.3.1915). photog: Ubaldo Arata. 
    Cast: Italia Almirante Manzini (Berta Trégner), Liliana Ardea (Elena Preville), Oreste Bilancia, Alberto Collo (Gerardo Trégner), Rita D’Harcourt (the nurse), André Habay (Alberto Davis), Domenico Marventi (the doctor), Vittorio Pieri (Michele, Berta’s godfather). 
    Censor date: 31.7.1923 (18494). rel: 12.1923 (Bari). copy: DCP, 90'02", col. (from 35 mm, 1844 m, orig. l. 1955 m., 18 fps, tinted & toned); titles: FRA, NLD. source: Museo Nazionale del Cinema, Torino.
    Not released in Finland.
    44th Le Giornate del Cinema Muto (GCM), Pordenone: Early Cinema.
    Grand piano: José Maria Serralde Ruiz.
    Viewed at Teatro Verdi; e-subtitles in English, 11 Oct 2025

Marco Grifo (GCM 2025): "Probably made concurrently with La piccola parrocchia, L’ombra [The Shadow] is in a way its counterpart, sharing not only cast members but the theme of adultery, though Almirante Manzini now shifts from playing the unfaithful wife to a cheated spouse. In both films, the protagonists’ journeys to forgiveness provide an opportunity for the actress to further demonstrate how versatile and convincing she was, with a talent honed by the experience she had gained in the studio and on stage. Indeed, alongside her film career, Almirante Manzini never abandoned her career as a stage actress, continuing to tread the boards – to which, as she recalled in the 1921 interview in Il Romanzo Film (mentioned in the note for Zingari), she always remained attached, “torn between the fascination I experienced in animating my sculptural creations and the nostalgic passion of endowing them with life through the harmony and vigour of the spoken word”."
  
"In an interview with Il Piccolo della Sera, reprinted in La Rivista Cinematografica (10-25.5.1924), the actress claimed that of all her screen creations L’ombra was her personal favourite. She plays Berta, the wife of Gerardo Trégner, a painter. They lead a peaceful life until she is paralyzed by sudden illness. Forced into immobility, she finds solace in her husband’s love and in the affection of her godfather Michele and best friend Elena. Years later, having unexpectedly and almost miraculously regained the ability to move, she discovers that Gerardo has secretly established a separate family with Elena, and that the couple even have a child. Shattered, she rushes to church to beg the Almighty to restore her infirmity, state of ignorance, and solitude. Meanwhile, Michele realizes that Elena has resumed her relationship with her ex-husband Alberto, and informs Berta, who then orders Elena to leave Gerardo and entrust her with the child, as Elena has proved to be an unworthy mother. Remorseful for his betrayal, Gerardo is forgiven by Berta, who decides to adopt and lovingly care for the illegitimate little boy. Mario Almirante’s script was based on the play by the noted playwright Dario Niccodemi, a close collaborator (and lover) of Réjane."

"Robert Verhulst’s review from Belgium (in French) in La Rivista Cinematografica (10.2.1924) stated: “The notices mention the statuesque I. Almirante, but in fact we can admire all her Italian gracefulness. Her consummate art brings many beautiful scenes to life, among others the final meeting in the studio, the healing, and the reconciliation.” The opinion was echoed in the same pages by Ro-Ma, writing from Fiume: “Alba Film’s masterpiece, L’ombra, was greeted with sincere admiration by countless sharp-eyed viewers. [...] It can be said that in addition to the acting, this magnificent superfilm has all the other factors necessary for a splendid success. An exquisite taste in staging, especially in the interiors, is clearly revealed by crystal-clear photography, perfect in its softness of half-tones, effectiveness, and correct exposure.” Almirante Manzini’s popularity in Belgium is noteworthy, as is testified by the number of her films released there. La Nation Belge (7.12.1923) lauded her performance in L’ombra, declaring (in French): “Her acting, heartfelt and unexaggerated, is internationally popular, and films like La Grande Passion (La Grande Passione) and La Petite Paroisse (La piccola parrocchia) have established her reputation in Belgium once and for all. In Dario Nicodémi’s L’Ombre, she has once again found a role worthy of her beautiful talent. … A humane, moving work, and a truly fine technical achievement, for which one hardly needs prophetic skills to predict an even greater success than her La Petite Paroisse.”"
  
"Awarded the Grand Gold Medal First Prize by the jury of the First International Exhibition of Photography, Optics, and Cinematography in Turin in August 1923, L’ombra had its national premiere at the Cinema Umberto in Bari in the first half of December of the same year. Like earlier productions starring Almirante Manzini, it was acclaimed almost everywhere: in Venice and Florence, and from Antwerp to Zagreb, critics chronicled its widespread popularity. The star’s name alone was now a draw for audiences, who packed theatres for every screening. The story was remade in 1954, directed by Giorgio Bianchi and starring Marta Toren."
                           
"L’ombra was restored by the Museo Nazionale del Cinema in Turin and the Cinémathèque Royale de Belgique from a duplicate negative printed in 2006 by the Cinematek. Toning and tinting were reconstructed from an original nitrate print held by the Cinematek. The 4K restoration was carried out in the Museo Nazionale del Cinema’s laboratory in 2022-2023." – Marco Grifo


AA: L'ombra, the Italia Almirante Manzini vehicle directed by her husband Mario Almirante, made a huge impression on all who saw it. Paul Cuff in his indispensable The Realm of Silence blog even rated it the best movie he had seen so far in the online edition of Pordenone 2025 (read Pordenone from afar 2025, Day 6).

I was impressed, as well, but struggled to find the vocabulary to convey it.

"The star's name alone was now a draw for audiences, who packed theatres for every screening", writes Marco Grifo in his program note copied above. He also quotes Almirante Manzini's own expression of "sculptural creations" and the terminology of her avid Belgian admirers such as "statuesque", "Italian gracefulness", "consummate art", "exquisite taste" and "heartfelt and unexaggerated" acting.

Seeing L'ombra for the first time, I rate it among the greatest Italian diva vehicles I have seen, in the league of Lyda Borelli's Ma l'amor mio non muore (IT 1913), Francesca Bertini's Assunta Spina (IT 1915), Pina Menichelli's Il fuoco (IT 1915), Eleonora Duse's Cenere (IT 1916) and Nietta Mordeglia and Helena Makowska's Il fauno (IT 1917).

The diva performance was a unique and versatile art of pantomime, based on the extraordinary charisma of the prima donna, drawing on traditions of the theatre, opera and ballet stage. It is an engrossing, wordless art.

In L'ombra, Italia Almirante Manzini is at times like la sonnambula, a sleepwalker in whose presence dream and reality lose their boundaries.

I get stuck by the term "melodrama", that unwieldy expression that covers so much ground that it can turn meaningless. There was the solid commercial "mellerdremmer" business of the 19th century popular stage, fodder for pastiche and parody in 20th century comedy and animation, and an occasional superb tribute such as Griffith's Way Down East.

There is the approach of "Hollywood as melodrama" to quote the memorable title of a retrospective at the NFT / British Film Institute. In a similar vein, Hitchcock noted that "melodrama is the only thing I can do".

Melodrama flourishes more than ever in U.S. American daytime soaps, Latin American telenovelas and Egyptian musalsal

The drama of classical antiquity took place in a noble universe driven by divine intervention. The tragedies of Shakespeare of the Elizabethan Era and Corneille and Racine of le Grand Siècle happened in royal circumstances, in a world of aristocracy and absolute monarchy. After the revolutions, contemporary drama was staged among the bourgeoisie. Ibsen created drama without melodrama. But the demand for electrifying stage experiences was high. Drama descended from divine and royal spheres: from heaven to earth, from the court to a bourgeois home. Melodrama was a means of heightening and elevating ordinary conflicts and emotions to a boiling point, explosive heights, transcendence and excess.

Its artistically most persuasive forms were the grand opera and silent diva films.

L'ombra is set in a haunting private sphere. It is a dream play of domesticity. The characters are born to wealth and can indulge in their artistic, sportive and emotional passions. Gerardo is a painter, Berta a tennis player. But Gerardo fails in painting Berta's portrait. It does not represent her soul. When Berta's best friend Elena marries Alberto although she does not love him, Berta is paralyzed. After many years, Berta recovers, only to find out that Gerardo and Elena lead a double life and have a son together. But Elena keeps also seeing Alberto, and Berta and Gerardo decide to stay together - with the son.

Mario Almirante's visual touch is assured and engaging, and his mise-en-scène compelling. David Bordwell paid attention to the mirror motif. When Berta is paralyzed, she orders the mirror removed so that she cannot see herself. When she starts to heal, her hand appears in the mirror.

The shadow, the painting and the mirror are the major motifs.

I missed the 2023 Bologna premiere of this centenary DCP of L'ombra but was happy to catch it in Pordenone. I enjoy the refined restoration and its subtle toning and tinting solutions.