7 December 2011
Design in Helsinki Films
15 February 2012 to 13 January 2013
Production: Helsinki City Museum
Partner: KAVA – National Audiovisual Archive, WDC project
Curator, exhibition texts, exhibition architecture: Minna Santakari
Lighting and graphic design for the exhibition: Mia Kivinen
Exhibition committee: Jan Alanco, Anna Finnilä, Tiina Heino, Eva Packalén, Marja Pehkonen, Sari Saresto
Photography:
Suomen Filmiteollisuus Oy collection/KAVA
Suomi-Filmi Oy collection/KAVA
Fennada-Filmi Oy/YLE
Kurkvaara-Filmi Oy/MTV 3
Jörn Donner Productions Oy
Filminor Oy
Helsinki City Museum
DESIGN IN HELSINKI FILMS
The exhibition reveals the visual imagery of films shot in Helsinki between the 1930s and the 1960s. Design and architecture had a huge impact on the imagery of films, as they allowed the creation of different urban atmospheres.
WHAT IS DESIGN IN FILMS?
The visual imagery of films is created by set and costume designers and, in the spirit of teamwork, also by camera operators and directors. Many interiors used in films were designed and built for just one particular film.
While few Finnish film projects have the resources to build entire exterior milieus, new imaginary environments may be created for films by selecting locations inventively, modifying them and combining them creatively.
The work of costume designers is a commentary on the fashion and dressing style of the time. Costumes also reflect each character’s position and personality. Costumes, hairstyles and make-up can turn an actress into a bag lady or a film star. Nothing human is alien to the imagined reality of films.
THE SCAPEGOAT
EUROPE’S MOST BEAUTIFUL SHOP ASSISTANT IN A PARADISE FOR WOMEN
Directed by Erkki Karu, The Scapegoat (1935) is based on a comedy play by the pseudonymous Agapetus, set in a department store named Sampo. The film was shot in the Stockmann department store on Aleksanterinkatu, which was completed in 1930.
Designed by architect Sigurd Frosterus, the interiors of this commercial palace are dominated by a covered light well, surrounded by galleries on four storeys. Up-to-date information on partitioning, interior design and technology had been acquired on field trips to European department stores. The department store’s art deco and functionalist-style interior was designed by Stockmann’s own drafting office under the supervision of interior designer Werner West.
The leading character of The Scapegoat, a young cosmetics saleswoman Irja Salo (Ester Toivonen), gets into trouble after selling a lady some black eyebrow powder as lipstick. However, thanks to the saleswoman’s resourcefulness and sense of humour, things turn out fine in the end. Irja Salo gets engaged to the director of the department store, Mr Vaara (Jaakko Korhonen) himself.
The Scapegoat was shot in various departments of the store. In addition, set designer Karl Fager designed some interiors, including Irja Salo’s home, which were built at Suomen Filmiteollisuus Oy’s studios in Kamppi.
Did you know that you are on the old premises of Stockmann’s trading firm right now? Designed by architect Lars Sonck, this commercial building was completed in 1913.
Photographs: Suomen Filmiteollisuus Oy collection/KAVA
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Irja Salo was played by Ester Toivonen, who was crowned Miss Europe in 1934.
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Saleswoman Irja Salo (Ester Toivonen) makes a fatal mistake by presenting eyebrow powder as lipstick.
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“...in their stylish uniforms, the young ladies parade against a backdrop of polished birch and walnut tree” (Birger Damstén: Stockmann sadan vuoden aikana [A Hundred Years of Stockmann], 1961).
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The walls of the staircases on Heikinkatu, today’s Mannerheimintie, were a deep green, and the Keskuskatu side was dominated by a warm orange hue.
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The clever Irja remains cheerful in the face of mishaps.
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Customers are unpredictable – also in the furniture department.
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“You mustn’t let a good guy go,” thinks Irja, unwittingly flirting with the department store director (Jaakko Korhonen).
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The Dallapé Orchestra and young female dancers provide entertainment as Irja and her mystery beau celebrate.
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Irja’s evening elegance does not suffer from her eagerness to sit on any table.
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Going to work after a party is not easy...
THE FARMER’S DAUGHTER
“HULDA IS A DAUGHTER OF PARLIAMENT!”
Director Valentin Vaala’s film Hulda of Juurakko (1937) centres around parlour maid Hulda, whose Helsinki is a city of masters and servants, two different circles of life concretely set apart by the Pitkäsilta bridge. But the city also offers many opportunities: alongside her maid’s work, Hulda studies and gets a university degree, setting her sights on becoming a Member of Parliament.
Hella Wuolijoki’s play Hulda of Juurakko was probably inspired by Miina Sillanpää’s (1866–1952) fabulous, varied life story from maid to minister. Hulda’s (Irma Seikkula) place of service, MP Soratie’s (Tauno Palo) home, is located at Kaisaniemenkatu 5 in Kruununhaka. The magnificent art deco building was designed by architect Martti Välikangas in 1927 and demolished in 1972.
The film’s exterior shots placed Soratie’s residence on the topmost floor of the building, which in reality was the home of architect J. S. Sirén. The film was of course not shot in the architect’s home – the interiors were built in a film studio as was customary at the time. The great set designed by Ossi Elstelä, the cultural home of a bachelor and Member of Parliament, is a delicious mix of Nordic classicism, art deco and functionalism. Among other things, Elstelä was inspired by the interior of the Parliament House.
Photographs: Suomi-Filmi Oy collection/KAVA
STREET VIEW
Kaisaniemenkatu 5 (Martti Välikangas, 1927) captured in the 1930s.
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Judge Soratie (Tauno Palo) at home. The interior set was built in the Haaga community hall.
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Fresh from a party at Restaurant Kämp, these Members of Parliament have offered Hulda a place to stay the night. Hulda has come to Helsinki looking for a job. Pictured on the left is Ali-Lehtonen (Ossi Elstelä), holding Hulda’s plywood suitcase.
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Soratie’s cook Miina (Aino Lohikoski) provides ambitious Hulda with practical advice and moral support.
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Hulda spends her evenings studying diligently.
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Judge Soratie’s aunt Conny (Anni Hämäläinen, on the left) fondly remembers the suffragettes.
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Hulda, or Irma Seikkula’s stuntwoman, washing the windows of Judge Soratie’s residence on the top floor of Kaisaniemenkatu 5.
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The servant and master at the doors befitting their social class. The same home could be accessed via separate staircases to avoid unwanted encounters with servants.
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A crisis at the judge’s home library – a book about the Renaissance has gone missing. According to a story, the judge’s secretary (Lea Joutseno, on the left) landed the role thanks to her appropriate jacket and skirt suit.
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Hulda asleep at her books. Many working-class women considered the ending of the film too conventional: Hulda ends up married to her master, Judge Soratie.
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“How do you even manage to keep that dress on?” Judge Soratie asks Hulda, expressing disapproval of her revealing evening outfit. “Purely thanks to your self-restraint,” she answers.
SURROGATE HUSBAND
In the 1930s, the construction of Töölö continued towards the north and Taka-Töölö. When the construction of the blocks around Töölöntori Square began, the classicist ideals of residential construction in Etu-Töölö gave way to the simpler shapes of functionalism. This was the start of the type of functionalism characteristic of Töölö.
The elegant street views were captured afresh in Valentin Vaala’s film Surrogate Husband in autumn 1936. The female protagonist of this comedy scripted by Hilja Valtonen, young secretary Irmeli Venes (Tuulikki Paananen), is forced to pretend she is married, because her future employer Director Markkula’s wife (Hilja Jorma) fears that the man will be charmed by unmarried women. The resourceful Irmeli finds a suitable fake husband, Reino Lahtinen (Tauno Palo), from a nearby restaurant.
Töölö was particularly popular among film-makers in the late 1930s. The streets of the city’s trendiest residential area often witnessed film crews. The way home was not long either as many film-makers and actors had moved to the area.
The set of Surrogate Husband, designed by Ossi Elstelä, boldly used the art deco idiom to an aptly glamorous effect. The interiors were built in summer 1936 in the Haaga Community Hall, which Suomi-Filmi used as its studio at the time.
Photographs: Suomi-Filmi Oy/KAVA
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Shooting Surrogate Husband in Töölöntorinkatu in autumn 1936. The office of the Markkula & Poika company, a central location in the story, was situated at Töölöntorinkatu 6 (D. Dahlberg, 1937).
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Applying for the position of secretary, Irmeli Venes (Tuulikki Paananen) meets her future employer’s son (Helmer Kaski) in Töölöntorinkatu. The background shows the heir’s automobile and the restaurant at Töölöntorinkatu 7.
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Director Markkula’s wife (Hilja Jorma) wants her husband’s (Uuno Laakso) young secretary to be safely married.
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“Mrs Lahtinen”, secretary Irmeli Venes, working late hours under the watchful eyes of the director’s wife and son. The office interior was created as a set.
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The impressive interiors of surrogate husband Reino Lahtinen’s (Tauno Palo) villa were built in the Haaga Community Hall. Set designer Ossi Elstelä created a “poor man’s Hollywood” in the forests of Haaga.
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Songstress Suokuma (Regina Linnanheimo) receives luxurious guest accommodation at Director Markkula’s residence. This interior set was combined with exterior shots of Munkkiniemi Manor.
SF PARADE
A NEW FUNCTIONALIST TOWER IN THE CAPITAL’S SILHOUETTE:
THE SHINING WHITE OLYMPIC STADIUM
Directed by Yrjö Norta and shot in 1939 during the last peacetime summer, SF Parade captured the anticipation of the Helsinki Olympic Games. The Olympics were postponed to 1952 by the war, but this was not yet known when the film was shot.
The film proudly presents the sights of the modern capital, particularly targeted at Olympic tourists. Dressed in a stylish uniform, Jopi Rinne (Joel Rinne) drives the glass-roofed tourist bus from one sight to another. Our radiant and professional guide, Ansa Koskeli (Ansa Ikonen), skilfully uses the microphone in three languages: German, English and Finnish. The just-completed Olympic Stadium is one of the key destinations of the tour, along with the Parliament House.
In the film, fair-haired Ansa is the subject of even greater interest than the sights: vying for her attention are both chauffeur Jopi and cabbie Tanu Paalu (Tauno Palo). Ansa chooses Tanu thanks to his musical skills and amorous duet singing, as the audience might have guessed. The strong fictional love story between Ansa and Tauno had already been going on for a couple of years and would continue for a long time...
Photographs: Suomen Filmiteollisuus Oy collection/KAVA
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The massive Parliament House (J. S. Sirén, 1931) was one of the key destinations on the sightseeing tour.
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Tanu Paalu (Tauno Palo) whistling at maiden Ansa with the just-completed Post House (Jorma Järvi, Erik Lindroos, 1938) in the background.
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The tourist bus has stopped in front of the Parliament House for filming. On the east side of Mannerheimintie are the VR (Finnish Railway) depots (Bruno Granholm, 1898).
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A film crew at work in front of the Parliament House. The lighting technician aiming the large reflector ensures that the stars of the film will shine their brightest on camera.
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The film being shot in summer 1939 at the corner of Restaurant Elite (Jalmari Peltonen, 1938) in Eteläinen Hesperiankatu, with curious passers-by admiring Ansa Ikonen’s on-camera presence.
2 PHOTOS
Ansa and Tanu dreamily singing the theme song of the film, each by the window of their home. Unbeknownst to each other, the future lovers seem to be neighbours as well.
In the film, Ansa is first standing in front of a painted backdrop scenery in the home interior in the studio (photo), but the scene is soon cut to a real city view, shot by the window of Hotel Torni (photo). Tauno’s view was shot by the window of the adjacent hotel room. This was another way of fooling the audience (photo).
INSPECTOR PALMU’S ERROR
RYGSECK FAMILY VILLA
The luxurious villa of the wealthy Rygseck family is the central site of Inspector Palmu’s Error. A suitable villa for this 1930s epoch film was found in Eira at Engelinaukio 8. This late Art Nouveau building was designed by Jarl Eklund in 1914.
Set designer Aarre Koivisto designed the interiors of the villa according to the film’s needs. Built at Suomen Filmiteollisuus Oy’s Liisankatu studios, the villa’s interiors were a multi-level, extravagant labyrinth that seemed to have no exit in the distressing atmosphere of the closing scene.
The look created for Elina Pohjanpää (playing Irma Vanne) is reminiscent of Ansa Ikonen in her 1930s films. Women’s costumes for the film were designed by Laura Saalas, with Bure Litonius as the costume specialist.
Elements from Suomen Filmiteollisuus’s set, furniture and prop warehouses ended up in the Finnish Broadcasting Company’s possession after the company went bankrupt in 1965. This means that a significant proportion of the furniture and other items often seen in films made by Suomen Filmiteollisuus are still being used as props for television programmes and films.
The old serving table (on the right) off which Aimo Rykämö (Pentti Siimes) unsuspectingly serves a poisoned absinthe drink to Alli Rygseck (Aino Mantsas) is part of the Finnish Broadcasting Company’s valuable collection.
Photographs: Suomen Filmiteollisuus Oy collection/KAVA
THE SUOMINEN FAMILY HOME
Consisting of six films, the Suominen Family film series kicked off with The Suominen Family, directed by Toivo Särkkä in 1941. The life of this fictional Helsinki-based family had earlier been followed as a popular radio play series. In the difficult times of war, demand for films about steady family life was great.
The mishaps and games of the energetic Suominen children provided the films with some much longed-for, alleviating humour. Olli, the son of the family, played by Lasse Pöysti, a 12-year-old evacuee from Sortavala, became the hero of the films. Pipsa, the perky little sister, was played by Maire Suvanto. Thanks to big sister Elina (Sirkka Sipilä), the films also featured a dose of entertaining young love.
The lives of the children are kept on the right track by the discipline and gentle care provided by mother Aino (Elsa Turakainen) and father Väinö (Yrjö Tuominen). The widow grandmother (Eine Laine) and assertive but soft-hearted maid Hilda (Siiri Angerkoski) are also part of the family, whose life centres in and around the home at Topeliuksenkatu 1. The building was designed by Jalmari Peltonen in 1937.
Photographs: Suomen Filmiteollisuus Oy collection/KAVA
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The radio was an important source of information and entertainment in the 1940s.
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In Olli Suominen’s Stunt (1942), the family has new mouths to feed: twins Seija and Martti. In reality, these war orphans were adopted into director Orvo Saarikivi’s family shortly before the film was made.
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Mother (Elsa Turakainen) making pancakes in the home interior built at Suomen Filmiteollisuus Oy’s studios in Kamppi. Father (Yrjö Tuominen) and maid Hilda (Siiri Angerkoski) look on.
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Father Väinö (Yrjö Tuominen) playing with the twins on the sofa.
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Mother Aino and Hilda sealing windows. Behind the window of the home is a painted street scene.
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Olli (Lasse Pöysti) playing Finnish baseball on the Stadium field, late for his pea soup. In the film, he checks the time on the railway station tower. Such excellent vision is perfectly possible in films.
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Olli and Pipsa (Maire Suvanto) chatting and playing as peacefully as siblings tend to do.
MARRIAGE, INC.
The protagonist in Hannu Leminen’s film Marriage, Inc. (1942), architect Paavo Kannas (Tauno Palo), runs an interior design company called My Home Corner. He is planning to hire a female assistant, but is weary of having constant trouble with attractive young ladies. This time, a modest appearance is required to land the job. Beautiful Hilkka Salo (Birgit Kronström) hides behind a pair of glasses to meet the requirements.
Director/set designer Hannu Leminen designed the architectural agency interiors at SF’s studios. A glass brick wall was a popular set element in early 1940s films.
Photographs: Suomen Filmiteollisuus Oy collection/KAVA
A HIRED FIANCÉ
A QUICK-WITTED INTERIOR DESIGNER
Directed by Valentin Vaala, A Hired Fiancé (1945) sees interior designer Meeri Holvi (Lea Joutseno) designing elegant homes for her wealthy clients. Meeri also becomes a client herself: she orders an escort, a “hired fiancé”, for a high-society party celebrating a luxurious interior designed by Meeri. While the vivacious professional helps her demanding clients select up-to-date home textiles and fine light fixtures, she is unable to choose between the interesting men around her.
Joutseno’s character in Vaala’s 1940s comedies was an active woman aiming at a certain independence and firing off unconventional lines, but at the end of the film she falls back in line – that is, into the arms of a man.
Comedienne extraordinaire Lea Joutseno, director Vaala and the pseudonymous Tet (Kersti Bergroth) penned several film scripts together, including A Hired Fiancé and Dynamite Girl. Set designer Erkki Siitonen designed the stylish interiors for A Hired Fiancé at Suomi-Filmi’s Munkkisaari studios.
Photographs: Suomi-Filmi Oy collection/KAVA
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Meeri (Lea Joutseno) negotiating with her boss and ex-husband Aarno Rauta (Tauno Majuri) in his stylish office.
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Meeri hurrying to her workplace, architectural studio Ar-To.
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A Bakelite telephone is an important tool for a professional woman.
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Boxing hero Urho Luomus (Kullervo Kalske) has been allowed to visit Meeri. Behind the set window we can see a painted “view of Töölö”.
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Clients assessing lighting options in Meeri’s cosy home.
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Boxer Luomus (Kullervo Kalske) seeing the lady home. Independent Meeri lives at Topeliuksenkatu 31 with her maid. The building was designed by Arvo O. Aalto and Yrjö R. Vuorinen in 1937.
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Hired fiancé Erkki Anger (Tapio Nurkka) at work in Helsinki by night.
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High-society lady Pippi Masa (Rauha Rentola) has found some male company around Messeniuksenkatu and Päivärinnankatu. The photo shows hired fiancé Erkki Anger (Tapio Nurkka) on the right and Director Rauta (Tauno Majuri).
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The evening elegance of Meeri Holvi (Lea Joutseno). The costume designer for this film is not known. Suomi-Filmi’s studios in Munkkisaari had their own sewing shop.
DYNAMITE GIRL
Director Valentin Vaala was a master of city comedy. In his 1940s films, Helsinki is not a city suffering from want and consecutive wars but a modern arena of fast urban life. Vaala’s film Dynamite Girl was finished in 1944.
The dynamite girl, Director Reijonen’s daughter Marja (Lea Joutseno) mostly moves in luxurious seaside Helsinki. Getting bored with her dull life, secure future and endless parties at the city’s best restaurants, Marja takes a momentary interest in the exciting lifestyle of the dynamite robbers ravaging the city. The energetic young woman infiltrates the criminal gang as “the Creeping Shadow of Telakkakatu” and gets to know a completely different city at secret meeting places in the harbour.
However, the romantic interest of young police officer Esko Vuoristo (William Markus) becomes Marja’s fate.
Photographs: Suomi-Filmi Oy collection/KAVA
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The classicist city palace at Stenbäckinkatu 24, designed by architect Väinö Vähäkallio, functions as the city home of the director’s family.
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Marja has a lunch date at Hotel Klaus Kurki’s terrace restaurant at Bulevardi 2 with a magnificent view of Helsinki city centre.
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Marja’s family villa was located in Kuusisaari. A popular filming location at its time, shipowner Henry Nielsen’s villa was later demolished.
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The closing scene takes place in the magnificent Restaurant Fennia (Mikonkatu 17), where Marja settles the score with the dynamite robbers and the handsome police officer.
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Marja’s admirer, police officer Vuoristo (William Markus, on the right) watching her dance with artist Kari Honka (Tapio Nurkka).
THE VAGABOND’S WALTZ
MANOR ROMANCE IN THE CITY
Producer/director Toivo Särkkä compiled a real dream team for his film The Vagabond’s Waltz. Taking place in a manor setting, the film was scripted by Mika Waltari and shot by Felix Forsman. The sets were designed by Hannu Leminen, the score composed by George de Godzinsky and the costumes designed by Bure Litonius, whose expertise in epoch costumes and uniforms was particularly relied on. The leads were played by Ansa Ikonen and Tauno Palo.
Herttoniemi Manor acted as the home of Countess Helena (Ansa Ikonen). The manor interiors, designed by Hannu Leminen to satisfy even the biggest appetite for romance, were built at the Suomen Filmiteollisuus studios in Kamppi. The wartime audience was intoxicated by the abundance of set and costume materials. The making of such a film was made possible by SF’s extensive set and costume warehouses. The costumes in SF’s wardrobe were the responsibility of Fiinu Autio, a veteran of several films.
Finished in 1941, The Vagabond’s Waltz became immensely popular. A number of romantic epoch films were shot in the years shadowed by war.
Photographs: Suomen Filmiteollisuus Oy collection/KAVA
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“Lackey” Arnold (Tauno Palo), who turns out to be a baron, and Countess Helena (Ansa Ikonen) in their rococo costumes.
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The unruly Helena sits on her father’s (Oscar Tengström) desk and wraps him around her little finger.
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Designed by Hannu Leminen, the manor interiors were built at the Suomen Filmiteollisuus studios at Fredrikinkatu 54 on former military premises. Shown on the right is a heavy film light equipped with wheels and reflectors.
FILMMAKING IN THE 1930–1960S
Although Finnish production of fictional films started in 1907 with The Moonshiners, it did not get strong and professional until after sound films were established in the mid-1930s. The two largest film companies, Suomen Filmiteollisuus Oy and Suomi-Filmi Oy, already had their own well-organised studios and premises in the 1930s. The companies employed a large number of film professionals from dressmakers and directors to actors and propmen.
Production and audience numbers increased from the 1930s onwards. It was a golden era for cinemas as well. Even the war years did not estrange the audiences from Finnish films as many other forms of entertainment were restricted in the austere wartime conditions. The peak was reached in 1953–1956, a period that saw the premiere of 102 domestic feature films.
The increased popularity of television in the early 1960s and the big turning point in the lifestyle of Finns led to a crisis for the domestic film industry. The largest film company, Suomen Filmiteollisuus Oy, ceased operations in 1965. Many film professionals moved to television, most of them to the Finnish Broadcasting Company. People started making films in a new way – among groups of friends, with small crews. Films were shot on streets and in homes, without a studio system. The new generation of filmmakers told their stories in new ways.
Photographs: Suomen Filmiteollisuus Oy collection, Suomi-Filmi Oy collection/KAVA
FATHER’S NEW AND EX
TWO DIFFERENT HOMES
Matti Kassila’s film version (1955) of Father’s New and Ex, a comedy play by Serp, writer Seere Salminen, is driven by the protagonist’s midlife crisis. A blazing workplace romance has made architect Mauri Pekanpää (Tauno Palo) divorce his wife Armi (Ansa Ikonen), the mother of his children, and marry his vampish secretary Babs (Hillevi Lagerstam).
The architect’s family has stayed in its old home, which emanates old cultural values; the ornamental grand piano in the sitting-room is surrounded by inherited furniture. “A modern young wife wants a modern home,” the architect says about his new wife, who has furnished their home in Kaivopuisto with a drinks cupboard, abstract art and up-to-date style. The architect eventually returns to his old wife, and the new wife’s tastes in interior decoration and art become the object of benevolent humour.
Set designer Aarre Koivisto was given a delicious task: to design two clearly different homes with a key role in depicting the values and lifestyles of the film’s leading characters. The home interiors were built at Suomen Filmiteollisuus’s Liisankatu studios.
Photographs: Suomen Filmiteollisuus Oy collection/KAVA
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The young couple have bought some trendy lamps, such as the Madame table lamp by Lisa Johansson-Pape. Pictured from the left are MP Juhankoski (Eino Kaipainen), architect Pekanpää (Tauno Palo) and his new wife Babs (Hillevi Lagerstam).
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The architect instructing his young assistant (Pirkko Karppi) at the office.
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The architect between his old and new wife. The bay window of the old home’s sitting-room provides a view of Töölö Church. The view was created by a painted backdrop behind the set window in the studio.
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The sitting-room in the old home with Mother (Ansa Ikonen), son Matti (Veli Palonen) and daughter Kaarina (Elina Pohjanpää).
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Father (Tauno Palo) and daughter (Elina Pohjanpää) in front of their home at Topeliuksenkatu 3 B.
GAS, INSPECTOR PALMU!
TWO DIFFERENT STAIRCASES
Perho House (Perhonkatu 11, 1957), designed by Aarne Ervi, was selected as the home and studio of Gas, Inspector Palmu!’s deranged artist Kurt Kuurna (Pentti Siimes) thanks to its magnificent spiral staircase, which seems to be suspended in mid-air.
Set designer Ensio Suominen’s perception of the bohemian interiors of the artist’s studio was built at Fennada-Filmi’s studios in Kulosaari. The set featured fresh and impressive elements, such as Harry Bertoia’s Diamond and Bird chairs, which went on to become classics of design. An important role was also played by Tapio Wirkkala’s K10-11 foot lamp, nowadays a coveted design classic, which provided the lighting for the dark closing scene.
Directed by Matti Kassila, Gas, Inspector Palmu! (1961) is based on Mika Waltari’s 1939 crime novel Kuka murhasi rouva Skrofin? (Who Murdered Mrs Skrof?). Mrs Skrof’s home was an impressive block of flats at Merikatu 7, designed by architect Runar Finnilä in 1926.
The staircase of Mrs Skrof’s home was also built at the Kulosaari studios. The centre of the two-storey staircase set, fully open on the other side, had room for a lifting platform for a film camera. This enabled the unobstructed filming of actors walking up and down the stairs.
Photographs: Fennada-Filmi Oy/YLE
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The staircase of Perho House (Perhonkatu 11, 1957), designed by Aarne Ervi. Photo: RTM.
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Set designer Ensio Suominen’s perception of Kurt Kuurna’s studio. Pictured from the left are Virta (Matti Ranin), Kaarlo Lankela (Saulo Haarla), Kurt Kuurna (Pentti Siimes) and Inspector Palmu (Joel Rinne).
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Kokki (Leo Jokela) and Virta prevent Kurt Kuurna’s desperate intentions on the staircase of Perho House.
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Kurt Kuurna’s studio provides a generous view of Helsinki rooftops, created using a photograph backdrop. The light source in the studio is the Akari 10A rice paper lamp, designed by Isamu Noguchi in 1951.
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The former tennis halls by Lars Sonckin tie were converted for film use in 1951. The photo shows director Matti Kassila in the middle and set designer Ensio Suominen leaning on the railing on the left.
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The film being shot in Laivanvarustajankatu in spring 1961. Director Matti Kassila in the middle. Camera operator Esko Nevalainen looking into the viewfinder of the Debrie camera on the left.
THE STARS WILL TELL, INSPECTOR PALMU
In Matti Kassila’s third Palmu film (1962), the design of the new decade is also evident at the Senaatintori police station: wearing a fashionable suit even in the tightest spots, young Judge Virta (Matti Ranin) commands his team through the intercom. Even the changed curtains in the office herald the beginning of a new era. Pictured here are Inspector Palmu (Joel Rinne, on the right) and Detective Kokki (Leo Jokela).
The Inspector Palmu stories were based in the Senaatintori police station, known to all Helsinki residents at the time. Helsinki’s police headquarters did not move from Senaatintori to Pasila until 1982.
The exterior shots in Palmu films were shot on location, in the middle of the real city. Most of the interiors were built in the studio, as was customary at the time, and so were the offices and corridors of the police station.
Photographs: Fennada-Filmi Oy/YLE
THE SCARLET DOVE
A NIGHTMARE ABOUT DISAPPEARANCE
The protagonist of Matti Kassila’s The Scarlet Dove (1961), doctor Olavi Aitamaa (Tauno Palo), suspects his wife Helena (Gunvor Sandqvist) of deceitful intentions. The doctor shadows his wife and her supposed lover (Matti Oravisto) through the autumnal Helsinki.
The leading character’s dark, nightmarish frame of mind is reflected by the dark side of the city – the night-time streets of Kallio. The doctor’s nocturnal anguish culminated in the empty plot at Castréninkatu and Kirstinkatu, where the wooden houses of a worker housing company Terho had just been demolished. The home of the mysterious young lady he had just visited no longer existed.
The big change that was taking place in the Kallio district at the time of filming – the demolition of the wooden houses and the intense construction of large blocks of flats – was captured in the film as part of an imaginary nightmare.
Photographs: Suomen Filmiteollisuus Oy collection/KAVA
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Doctor Aitamaa (Tauno Palo) shadowing his wife by the Havis Amanda fountain.
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The stylish canopy of the Olympic Pier at South Harbour (Aarne Hytönen, Risto-Veikko Luukkonen, 1952) conceals the doubtful doctor’s progress.
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Doctor Aitamaa comes within hearing distance of his wife (Gunvor Sandqvist) and her supposed lover (Matti Oravisto) at the Rowing Arena (Hilding Ekelund, 1939).
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The exterior of the home of the doctor’s new acquaintance, “the Red Dove” (Helen Elde), was shot in Vallila (Virtaintie 7).
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“I have no view...” says the young lady, describing her abode. The interior of the wooden home was built at SF’s studios at Liisankatu 14 according to set designer Aarre Koivisto’s plans.
JUSTUS WILL TAKE CARE OF EVERYTHING (Lasse Pöysti, 1960)
The home of unemployed inventor Justus (Lasse Pöysti) in an old wooden house in Kallio is condemned. Justus ends up on the street but decides to start up an enterprise of his own: Oy Kaikki järjestyy Ab (Will Take Care of Everything Inc.).
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Kolmas linja 17, just being demolished, with Justus (Lasse Pöysti) and another homeless person, Bella (Elina Salo).
Photograph: Fennada-Filmi Oy/YLE
GAME OF LUCK
Like many of his contemporaries, director Risto Jarva was interested in city planning and the prospects for cities. Game of Luck (1965) repeatedly contemplates how the rapidly changing Helsinki should be developed. The leading characters dream about city centre blocks enlivened by boutiques and cafés. The protagonist, journalist Jussi (Jaakko Pakkasvirta) visits the station tunnel construction site and roams the demolition site of the Kino-Palatsi cinema.
The great enthusiasm to put up new buildings and tear down old ones also started receiving criticism in the 1960s. While the Kino-Palatsi building and the old Kämp hotel and restaurant were demolished, constructors were obliged to reconstruct Kämp’s façade and the legendary Mirror Room in a way that restored their old appearance. But as the protagonist of Game of Luck says, “city life is more than just façades”.
Journalist Jussi’s office is located on the roof floor of Kampin Autotalo at Fredrikinkatu 46. The building was designed by Eino Tuompo and Veli Valorinta in 1958. The area has long-standing traditions in film-making as Suomen Filmiteollisuus Oy’s studio was located in a former garrison building at Fredrikinkatu 54 in 1936–1945. Hundreds of scenes were shot on sets built in the studio. The red brick garrison building was probably demolished in the late 1950s.
Photographs: Filminoir Oy, Helsinki City Museum
ADVENTURE STARTS HERE
Directed by Jörn Donner, Adventure Starts Here (1965) offers a generous and diverse depiction of old and new Helsinki in the 1960s. The protagonist, architect Toivo Pajunen (Matti Oravisto), and his beloved, Swedish fashion designer Anne (Harriet Andersson), wander around the city in many moods.
The architect and his beloved have highly different conceptions of Helsinki. Anne wonders to herself, “why did I ever come to this depressing little town...”, and Toivo contemplates: “This is my home town. I can’t give you much more than this... Just the scent of the summer morning by the water, the vastness of the square.”
The city is changing fast, and the designer has a strong role in this. However, constructors criticise Toivo for excessive expense and bluntly recommend a change of career. The film links the throes of creating idealistic architecture with the sore points in the architect’s personal life: memories of war and difficulties in his love affair with Anne, an independent and detached modern woman. Architect Pajunen only wants to create “a world as beautiful and pure as the works of Alvar Aalto...” Villa Ervi, the office and home at Kuusiniementie 5 designed by architect Aarne Ervi for his family, served as Toivo Pajunen’s home in the film.
Photographs: Fennada-Filmi Oy/YLE
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The costumes worn by elegant Swedish Anne (Harriet Andersson) came from the Balmain fashion house.
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The architect takes his sweetheart to see his modest childhood home at the Ruoholahti villas (Lastenkodinkatu 2–10).
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This strongly-worded meeting was shot at architect Aarne Ervi’s office in Villa Ervi. The studio wing of the building was completed in the early 1960s.
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Villa Ervi’s residential wing was completed in 1950.
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Architect Toivo Pajunen (Matti Oravisto) is an admirer of Alvar Aalto’s work. The Uspenski Cathedral and Enso-Gutzeit Headquarters (Alvar Aalto,1961) are shown in the background.
OPEN SECRET
A HOUSING CONSTRUCTION DRAMA
A recurrent subject in 1960s films is the great change in the construction industry and the ethics of contractors’ operations. In Maunu Kurkvaara’s film Open Secret (1962), young architect Pentti Vaara (Jarno Hiilloskorpi) and his senior colleague, architectural studio director Toivo Koski (Kalervo Nissilä) fall out with a developer who wants everything to be efficient. For the client, the main thing is to build “as much as possible for as little as possible”.
Looking at the new high-rise blocks of flats in the Kallio district, Toivo Koski ponders: “Even those are nothing but slums...” In the film shot in early 1962, the architect’s strict gaze was fixed upon the new residential blocks by Kolmas linja and Castréninkatu.
The designers find the hectic schedules and growing profitability requirements unreasonable. Also disappointed in his personal life in many ways, the film’s middle-aged architect ends up committing suicide.
Photographs: Kurkvaara-Filmi Oy/MTV 3
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Architect colleagues Toivo Koski (Kalervo Nissilä, on the left) and Pentti Vaara (Jarno Hiilloskorpi) supervising a vast building site in Niemenmäki.
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Young architect Vaara starts investigating his boss’s fate.
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The architectural studio’s secretary (Sinikka Hannula) leaving work on time.
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The architect friends (Kalervo Nissilä and Pehr-Olof Sirén) in front of As. Oy Tonttukallio’s terraced houses. Designed by Jaakko Laapotti and Toivo Korhonen, the atrium houses were completed in 1959.
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In the film, the interiors of the architect’s home were set upstairs from the Artek shop at Keskuskatu 3. Frustrated Mrs Koski (Kyllikki Forssell) asks the young architect for reasons for her husband’s desperate solution.
A TIME OF ROSES
FINLAND IN 2012
In Risto Jarva’s A Time of Roses (1969), according to the official opinion of the History Institute, Finland in 2012 has survived turbulent times and become human-centric and liberal: class boundaries have disappeared and the keyword is progress. However, it emerges that the official opinion has its sceptics.
The home of the protagonist, researcher Raimo Lappalainen (Arto Tuominen), who echoes the History Institute’s views, has been furnished with some top 1960s design: transparent, inflatable plastic chairs (Blow chairs from 1967) and the latest large Marimekko patterns designed by Maija Isola. The air-filled seats play a significant role in the story – the inebriated protagonist, passed out with his face against the chair, is suffocated after a sharp point in his necklace punctures the plastic chair. Researcher Lappalainen’s questionable methods yield tragic results.
The script, set design and editing of the film were carried out by means of teamwork. The interior sets were built in the Pasila Community Hall and at Filminor Oy’s studio.
Photographs: Filminor Oy/??
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Raimo Lappalainen (Arto Tuominen) studies the past through the story of an individual. His subject is Saara Turunen (in the picture, Ritva Vepsä), who lived in the 1960s.
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Anu Huotari (Tarja Markus) is researcher Raimo Lappalainen’s assistant. The costumes in the film were designed by Saini Salonen.
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Anu Huotari (Tarja Markus) has gained additional research material thanks to an exciting piece of equipment.
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The inflatable Blow chairs were a central element in the researcher’s home. Set design for the film was carried out by a workgroup consisting of Lauri Anttila, Antti Peippo, Juhani Jauhiainen, Kullervo Kukkasjärvi and Matti Mansner.
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The researchers’ friends and family partying.
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The photo shows director Risto Jarva in the middle and assistant director Titta Karakorpi to his right.
Design in Helsinki Films
15 February 2012 to 13 January 2013
Production: Helsinki City Museum
Partner: KAVA – National Audiovisual Archive, WDC project
Curator, exhibition texts, exhibition architecture: Minna Santakari
Lighting and graphic design for the exhibition: Mia Kivinen
Exhibition committee: Jan Alanco, Anna Finnilä, Tiina Heino, Eva Packalén, Marja Pehkonen, Sari Saresto
Photography:
Suomen Filmiteollisuus Oy collection/KAVA
Suomi-Filmi Oy collection/KAVA
Fennada-Filmi Oy/YLE
Kurkvaara-Filmi Oy/MTV 3
Jörn Donner Productions Oy
Filminor Oy
Helsinki City Museum
DESIGN IN HELSINKI FILMS
The exhibition reveals the visual imagery of films shot in Helsinki between the 1930s and the 1960s. Design and architecture had a huge impact on the imagery of films, as they allowed the creation of different urban atmospheres.
WHAT IS DESIGN IN FILMS?
The visual imagery of films is created by set and costume designers and, in the spirit of teamwork, also by camera operators and directors. Many interiors used in films were designed and built for just one particular film.
While few Finnish film projects have the resources to build entire exterior milieus, new imaginary environments may be created for films by selecting locations inventively, modifying them and combining them creatively.
The work of costume designers is a commentary on the fashion and dressing style of the time. Costumes also reflect each character’s position and personality. Costumes, hairstyles and make-up can turn an actress into a bag lady or a film star. Nothing human is alien to the imagined reality of films.
THE SCAPEGOAT
EUROPE’S MOST BEAUTIFUL SHOP ASSISTANT IN A PARADISE FOR WOMEN
Directed by Erkki Karu, The Scapegoat (1935) is based on a comedy play by the pseudonymous Agapetus, set in a department store named Sampo. The film was shot in the Stockmann department store on Aleksanterinkatu, which was completed in 1930.
Designed by architect Sigurd Frosterus, the interiors of this commercial palace are dominated by a covered light well, surrounded by galleries on four storeys. Up-to-date information on partitioning, interior design and technology had been acquired on field trips to European department stores. The department store’s art deco and functionalist-style interior was designed by Stockmann’s own drafting office under the supervision of interior designer Werner West.
The leading character of The Scapegoat, a young cosmetics saleswoman Irja Salo (Ester Toivonen), gets into trouble after selling a lady some black eyebrow powder as lipstick. However, thanks to the saleswoman’s resourcefulness and sense of humour, things turn out fine in the end. Irja Salo gets engaged to the director of the department store, Mr Vaara (Jaakko Korhonen) himself.
The Scapegoat was shot in various departments of the store. In addition, set designer Karl Fager designed some interiors, including Irja Salo’s home, which were built at Suomen Filmiteollisuus Oy’s studios in Kamppi.
Did you know that you are on the old premises of Stockmann’s trading firm right now? Designed by architect Lars Sonck, this commercial building was completed in 1913.
Photographs: Suomen Filmiteollisuus Oy collection/KAVA
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Irja Salo was played by Ester Toivonen, who was crowned Miss Europe in 1934.
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Saleswoman Irja Salo (Ester Toivonen) makes a fatal mistake by presenting eyebrow powder as lipstick.
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“...in their stylish uniforms, the young ladies parade against a backdrop of polished birch and walnut tree” (Birger Damstén: Stockmann sadan vuoden aikana [A Hundred Years of Stockmann], 1961).
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The walls of the staircases on Heikinkatu, today’s Mannerheimintie, were a deep green, and the Keskuskatu side was dominated by a warm orange hue.
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The clever Irja remains cheerful in the face of mishaps.
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Customers are unpredictable – also in the furniture department.
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“You mustn’t let a good guy go,” thinks Irja, unwittingly flirting with the department store director (Jaakko Korhonen).
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The Dallapé Orchestra and young female dancers provide entertainment as Irja and her mystery beau celebrate.
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Irja’s evening elegance does not suffer from her eagerness to sit on any table.
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Going to work after a party is not easy...
THE FARMER’S DAUGHTER
“HULDA IS A DAUGHTER OF PARLIAMENT!”
Director Valentin Vaala’s film Hulda of Juurakko (1937) centres around parlour maid Hulda, whose Helsinki is a city of masters and servants, two different circles of life concretely set apart by the Pitkäsilta bridge. But the city also offers many opportunities: alongside her maid’s work, Hulda studies and gets a university degree, setting her sights on becoming a Member of Parliament.
Hella Wuolijoki’s play Hulda of Juurakko was probably inspired by Miina Sillanpää’s (1866–1952) fabulous, varied life story from maid to minister. Hulda’s (Irma Seikkula) place of service, MP Soratie’s (Tauno Palo) home, is located at Kaisaniemenkatu 5 in Kruununhaka. The magnificent art deco building was designed by architect Martti Välikangas in 1927 and demolished in 1972.
The film’s exterior shots placed Soratie’s residence on the topmost floor of the building, which in reality was the home of architect J. S. Sirén. The film was of course not shot in the architect’s home – the interiors were built in a film studio as was customary at the time. The great set designed by Ossi Elstelä, the cultural home of a bachelor and Member of Parliament, is a delicious mix of Nordic classicism, art deco and functionalism. Among other things, Elstelä was inspired by the interior of the Parliament House.
Photographs: Suomi-Filmi Oy collection/KAVA
STREET VIEW
Kaisaniemenkatu 5 (Martti Välikangas, 1927) captured in the 1930s.
LARGE PHOTO
Judge Soratie (Tauno Palo) at home. The interior set was built in the Haaga community hall.
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Fresh from a party at Restaurant Kämp, these Members of Parliament have offered Hulda a place to stay the night. Hulda has come to Helsinki looking for a job. Pictured on the left is Ali-Lehtonen (Ossi Elstelä), holding Hulda’s plywood suitcase.
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Soratie’s cook Miina (Aino Lohikoski) provides ambitious Hulda with practical advice and moral support.
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Hulda spends her evenings studying diligently.
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Judge Soratie’s aunt Conny (Anni Hämäläinen, on the left) fondly remembers the suffragettes.
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Hulda, or Irma Seikkula’s stuntwoman, washing the windows of Judge Soratie’s residence on the top floor of Kaisaniemenkatu 5.
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The servant and master at the doors befitting their social class. The same home could be accessed via separate staircases to avoid unwanted encounters with servants.
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A crisis at the judge’s home library – a book about the Renaissance has gone missing. According to a story, the judge’s secretary (Lea Joutseno, on the left) landed the role thanks to her appropriate jacket and skirt suit.
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Hulda asleep at her books. Many working-class women considered the ending of the film too conventional: Hulda ends up married to her master, Judge Soratie.
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“How do you even manage to keep that dress on?” Judge Soratie asks Hulda, expressing disapproval of her revealing evening outfit. “Purely thanks to your self-restraint,” she answers.
SURROGATE HUSBAND
In the 1930s, the construction of Töölö continued towards the north and Taka-Töölö. When the construction of the blocks around Töölöntori Square began, the classicist ideals of residential construction in Etu-Töölö gave way to the simpler shapes of functionalism. This was the start of the type of functionalism characteristic of Töölö.
The elegant street views were captured afresh in Valentin Vaala’s film Surrogate Husband in autumn 1936. The female protagonist of this comedy scripted by Hilja Valtonen, young secretary Irmeli Venes (Tuulikki Paananen), is forced to pretend she is married, because her future employer Director Markkula’s wife (Hilja Jorma) fears that the man will be charmed by unmarried women. The resourceful Irmeli finds a suitable fake husband, Reino Lahtinen (Tauno Palo), from a nearby restaurant.
Töölö was particularly popular among film-makers in the late 1930s. The streets of the city’s trendiest residential area often witnessed film crews. The way home was not long either as many film-makers and actors had moved to the area.
The set of Surrogate Husband, designed by Ossi Elstelä, boldly used the art deco idiom to an aptly glamorous effect. The interiors were built in summer 1936 in the Haaga Community Hall, which Suomi-Filmi used as its studio at the time.
Photographs: Suomi-Filmi Oy/KAVA
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Shooting Surrogate Husband in Töölöntorinkatu in autumn 1936. The office of the Markkula & Poika company, a central location in the story, was situated at Töölöntorinkatu 6 (D. Dahlberg, 1937).
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Applying for the position of secretary, Irmeli Venes (Tuulikki Paananen) meets her future employer’s son (Helmer Kaski) in Töölöntorinkatu. The background shows the heir’s automobile and the restaurant at Töölöntorinkatu 7.
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Director Markkula’s wife (Hilja Jorma) wants her husband’s (Uuno Laakso) young secretary to be safely married.
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“Mrs Lahtinen”, secretary Irmeli Venes, working late hours under the watchful eyes of the director’s wife and son. The office interior was created as a set.
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The impressive interiors of surrogate husband Reino Lahtinen’s (Tauno Palo) villa were built in the Haaga Community Hall. Set designer Ossi Elstelä created a “poor man’s Hollywood” in the forests of Haaga.
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Songstress Suokuma (Regina Linnanheimo) receives luxurious guest accommodation at Director Markkula’s residence. This interior set was combined with exterior shots of Munkkiniemi Manor.
SF PARADE
A NEW FUNCTIONALIST TOWER IN THE CAPITAL’S SILHOUETTE:
THE SHINING WHITE OLYMPIC STADIUM
Directed by Yrjö Norta and shot in 1939 during the last peacetime summer, SF Parade captured the anticipation of the Helsinki Olympic Games. The Olympics were postponed to 1952 by the war, but this was not yet known when the film was shot.
The film proudly presents the sights of the modern capital, particularly targeted at Olympic tourists. Dressed in a stylish uniform, Jopi Rinne (Joel Rinne) drives the glass-roofed tourist bus from one sight to another. Our radiant and professional guide, Ansa Koskeli (Ansa Ikonen), skilfully uses the microphone in three languages: German, English and Finnish. The just-completed Olympic Stadium is one of the key destinations of the tour, along with the Parliament House.
In the film, fair-haired Ansa is the subject of even greater interest than the sights: vying for her attention are both chauffeur Jopi and cabbie Tanu Paalu (Tauno Palo). Ansa chooses Tanu thanks to his musical skills and amorous duet singing, as the audience might have guessed. The strong fictional love story between Ansa and Tauno had already been going on for a couple of years and would continue for a long time...
Photographs: Suomen Filmiteollisuus Oy collection/KAVA
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The massive Parliament House (J. S. Sirén, 1931) was one of the key destinations on the sightseeing tour.
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Tanu Paalu (Tauno Palo) whistling at maiden Ansa with the just-completed Post House (Jorma Järvi, Erik Lindroos, 1938) in the background.
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The tourist bus has stopped in front of the Parliament House for filming. On the east side of Mannerheimintie are the VR (Finnish Railway) depots (Bruno Granholm, 1898).
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A film crew at work in front of the Parliament House. The lighting technician aiming the large reflector ensures that the stars of the film will shine their brightest on camera.
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The film being shot in summer 1939 at the corner of Restaurant Elite (Jalmari Peltonen, 1938) in Eteläinen Hesperiankatu, with curious passers-by admiring Ansa Ikonen’s on-camera presence.
2 PHOTOS
Ansa and Tanu dreamily singing the theme song of the film, each by the window of their home. Unbeknownst to each other, the future lovers seem to be neighbours as well.
In the film, Ansa is first standing in front of a painted backdrop scenery in the home interior in the studio (photo), but the scene is soon cut to a real city view, shot by the window of Hotel Torni (photo). Tauno’s view was shot by the window of the adjacent hotel room. This was another way of fooling the audience (photo).
INSPECTOR PALMU’S ERROR
RYGSECK FAMILY VILLA
The luxurious villa of the wealthy Rygseck family is the central site of Inspector Palmu’s Error. A suitable villa for this 1930s epoch film was found in Eira at Engelinaukio 8. This late Art Nouveau building was designed by Jarl Eklund in 1914.
Set designer Aarre Koivisto designed the interiors of the villa according to the film’s needs. Built at Suomen Filmiteollisuus Oy’s Liisankatu studios, the villa’s interiors were a multi-level, extravagant labyrinth that seemed to have no exit in the distressing atmosphere of the closing scene.
The look created for Elina Pohjanpää (playing Irma Vanne) is reminiscent of Ansa Ikonen in her 1930s films. Women’s costumes for the film were designed by Laura Saalas, with Bure Litonius as the costume specialist.
Elements from Suomen Filmiteollisuus’s set, furniture and prop warehouses ended up in the Finnish Broadcasting Company’s possession after the company went bankrupt in 1965. This means that a significant proportion of the furniture and other items often seen in films made by Suomen Filmiteollisuus are still being used as props for television programmes and films.
The old serving table (on the right) off which Aimo Rykämö (Pentti Siimes) unsuspectingly serves a poisoned absinthe drink to Alli Rygseck (Aino Mantsas) is part of the Finnish Broadcasting Company’s valuable collection.
Photographs: Suomen Filmiteollisuus Oy collection/KAVA
THE SUOMINEN FAMILY HOME
Consisting of six films, the Suominen Family film series kicked off with The Suominen Family, directed by Toivo Särkkä in 1941. The life of this fictional Helsinki-based family had earlier been followed as a popular radio play series. In the difficult times of war, demand for films about steady family life was great.
The mishaps and games of the energetic Suominen children provided the films with some much longed-for, alleviating humour. Olli, the son of the family, played by Lasse Pöysti, a 12-year-old evacuee from Sortavala, became the hero of the films. Pipsa, the perky little sister, was played by Maire Suvanto. Thanks to big sister Elina (Sirkka Sipilä), the films also featured a dose of entertaining young love.
The lives of the children are kept on the right track by the discipline and gentle care provided by mother Aino (Elsa Turakainen) and father Väinö (Yrjö Tuominen). The widow grandmother (Eine Laine) and assertive but soft-hearted maid Hilda (Siiri Angerkoski) are also part of the family, whose life centres in and around the home at Topeliuksenkatu 1. The building was designed by Jalmari Peltonen in 1937.
Photographs: Suomen Filmiteollisuus Oy collection/KAVA
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The radio was an important source of information and entertainment in the 1940s.
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In Olli Suominen’s Stunt (1942), the family has new mouths to feed: twins Seija and Martti. In reality, these war orphans were adopted into director Orvo Saarikivi’s family shortly before the film was made.
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Mother (Elsa Turakainen) making pancakes in the home interior built at Suomen Filmiteollisuus Oy’s studios in Kamppi. Father (Yrjö Tuominen) and maid Hilda (Siiri Angerkoski) look on.
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Father Väinö (Yrjö Tuominen) playing with the twins on the sofa.
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Mother Aino and Hilda sealing windows. Behind the window of the home is a painted street scene.
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Olli (Lasse Pöysti) playing Finnish baseball on the Stadium field, late for his pea soup. In the film, he checks the time on the railway station tower. Such excellent vision is perfectly possible in films.
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Olli and Pipsa (Maire Suvanto) chatting and playing as peacefully as siblings tend to do.
MARRIAGE, INC.
The protagonist in Hannu Leminen’s film Marriage, Inc. (1942), architect Paavo Kannas (Tauno Palo), runs an interior design company called My Home Corner. He is planning to hire a female assistant, but is weary of having constant trouble with attractive young ladies. This time, a modest appearance is required to land the job. Beautiful Hilkka Salo (Birgit Kronström) hides behind a pair of glasses to meet the requirements.
Director/set designer Hannu Leminen designed the architectural agency interiors at SF’s studios. A glass brick wall was a popular set element in early 1940s films.
Photographs: Suomen Filmiteollisuus Oy collection/KAVA
A HIRED FIANCÉ
A QUICK-WITTED INTERIOR DESIGNER
Directed by Valentin Vaala, A Hired Fiancé (1945) sees interior designer Meeri Holvi (Lea Joutseno) designing elegant homes for her wealthy clients. Meeri also becomes a client herself: she orders an escort, a “hired fiancé”, for a high-society party celebrating a luxurious interior designed by Meeri. While the vivacious professional helps her demanding clients select up-to-date home textiles and fine light fixtures, she is unable to choose between the interesting men around her.
Joutseno’s character in Vaala’s 1940s comedies was an active woman aiming at a certain independence and firing off unconventional lines, but at the end of the film she falls back in line – that is, into the arms of a man.
Comedienne extraordinaire Lea Joutseno, director Vaala and the pseudonymous Tet (Kersti Bergroth) penned several film scripts together, including A Hired Fiancé and Dynamite Girl. Set designer Erkki Siitonen designed the stylish interiors for A Hired Fiancé at Suomi-Filmi’s Munkkisaari studios.
Photographs: Suomi-Filmi Oy collection/KAVA
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Meeri (Lea Joutseno) negotiating with her boss and ex-husband Aarno Rauta (Tauno Majuri) in his stylish office.
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Meeri hurrying to her workplace, architectural studio Ar-To.
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A Bakelite telephone is an important tool for a professional woman.
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Boxing hero Urho Luomus (Kullervo Kalske) has been allowed to visit Meeri. Behind the set window we can see a painted “view of Töölö”.
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Clients assessing lighting options in Meeri’s cosy home.
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Boxer Luomus (Kullervo Kalske) seeing the lady home. Independent Meeri lives at Topeliuksenkatu 31 with her maid. The building was designed by Arvo O. Aalto and Yrjö R. Vuorinen in 1937.
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Hired fiancé Erkki Anger (Tapio Nurkka) at work in Helsinki by night.
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High-society lady Pippi Masa (Rauha Rentola) has found some male company around Messeniuksenkatu and Päivärinnankatu. The photo shows hired fiancé Erkki Anger (Tapio Nurkka) on the right and Director Rauta (Tauno Majuri).
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The evening elegance of Meeri Holvi (Lea Joutseno). The costume designer for this film is not known. Suomi-Filmi’s studios in Munkkisaari had their own sewing shop.
DYNAMITE GIRL
Director Valentin Vaala was a master of city comedy. In his 1940s films, Helsinki is not a city suffering from want and consecutive wars but a modern arena of fast urban life. Vaala’s film Dynamite Girl was finished in 1944.
The dynamite girl, Director Reijonen’s daughter Marja (Lea Joutseno) mostly moves in luxurious seaside Helsinki. Getting bored with her dull life, secure future and endless parties at the city’s best restaurants, Marja takes a momentary interest in the exciting lifestyle of the dynamite robbers ravaging the city. The energetic young woman infiltrates the criminal gang as “the Creeping Shadow of Telakkakatu” and gets to know a completely different city at secret meeting places in the harbour.
However, the romantic interest of young police officer Esko Vuoristo (William Markus) becomes Marja’s fate.
Photographs: Suomi-Filmi Oy collection/KAVA
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The classicist city palace at Stenbäckinkatu 24, designed by architect Väinö Vähäkallio, functions as the city home of the director’s family.
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Marja has a lunch date at Hotel Klaus Kurki’s terrace restaurant at Bulevardi 2 with a magnificent view of Helsinki city centre.
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Marja’s family villa was located in Kuusisaari. A popular filming location at its time, shipowner Henry Nielsen’s villa was later demolished.
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The closing scene takes place in the magnificent Restaurant Fennia (Mikonkatu 17), where Marja settles the score with the dynamite robbers and the handsome police officer.
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Marja’s admirer, police officer Vuoristo (William Markus, on the right) watching her dance with artist Kari Honka (Tapio Nurkka).
THE VAGABOND’S WALTZ
MANOR ROMANCE IN THE CITY
Producer/director Toivo Särkkä compiled a real dream team for his film The Vagabond’s Waltz. Taking place in a manor setting, the film was scripted by Mika Waltari and shot by Felix Forsman. The sets were designed by Hannu Leminen, the score composed by George de Godzinsky and the costumes designed by Bure Litonius, whose expertise in epoch costumes and uniforms was particularly relied on. The leads were played by Ansa Ikonen and Tauno Palo.
Herttoniemi Manor acted as the home of Countess Helena (Ansa Ikonen). The manor interiors, designed by Hannu Leminen to satisfy even the biggest appetite for romance, were built at the Suomen Filmiteollisuus studios in Kamppi. The wartime audience was intoxicated by the abundance of set and costume materials. The making of such a film was made possible by SF’s extensive set and costume warehouses. The costumes in SF’s wardrobe were the responsibility of Fiinu Autio, a veteran of several films.
Finished in 1941, The Vagabond’s Waltz became immensely popular. A number of romantic epoch films were shot in the years shadowed by war.
Photographs: Suomen Filmiteollisuus Oy collection/KAVA
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“Lackey” Arnold (Tauno Palo), who turns out to be a baron, and Countess Helena (Ansa Ikonen) in their rococo costumes.
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The unruly Helena sits on her father’s (Oscar Tengström) desk and wraps him around her little finger.
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Designed by Hannu Leminen, the manor interiors were built at the Suomen Filmiteollisuus studios at Fredrikinkatu 54 on former military premises. Shown on the right is a heavy film light equipped with wheels and reflectors.
FILMMAKING IN THE 1930–1960S
Although Finnish production of fictional films started in 1907 with The Moonshiners, it did not get strong and professional until after sound films were established in the mid-1930s. The two largest film companies, Suomen Filmiteollisuus Oy and Suomi-Filmi Oy, already had their own well-organised studios and premises in the 1930s. The companies employed a large number of film professionals from dressmakers and directors to actors and propmen.
Production and audience numbers increased from the 1930s onwards. It was a golden era for cinemas as well. Even the war years did not estrange the audiences from Finnish films as many other forms of entertainment were restricted in the austere wartime conditions. The peak was reached in 1953–1956, a period that saw the premiere of 102 domestic feature films.
The increased popularity of television in the early 1960s and the big turning point in the lifestyle of Finns led to a crisis for the domestic film industry. The largest film company, Suomen Filmiteollisuus Oy, ceased operations in 1965. Many film professionals moved to television, most of them to the Finnish Broadcasting Company. People started making films in a new way – among groups of friends, with small crews. Films were shot on streets and in homes, without a studio system. The new generation of filmmakers told their stories in new ways.
Photographs: Suomen Filmiteollisuus Oy collection, Suomi-Filmi Oy collection/KAVA
FATHER’S NEW AND EX
TWO DIFFERENT HOMES
Matti Kassila’s film version (1955) of Father’s New and Ex, a comedy play by Serp, writer Seere Salminen, is driven by the protagonist’s midlife crisis. A blazing workplace romance has made architect Mauri Pekanpää (Tauno Palo) divorce his wife Armi (Ansa Ikonen), the mother of his children, and marry his vampish secretary Babs (Hillevi Lagerstam).
The architect’s family has stayed in its old home, which emanates old cultural values; the ornamental grand piano in the sitting-room is surrounded by inherited furniture. “A modern young wife wants a modern home,” the architect says about his new wife, who has furnished their home in Kaivopuisto with a drinks cupboard, abstract art and up-to-date style. The architect eventually returns to his old wife, and the new wife’s tastes in interior decoration and art become the object of benevolent humour.
Set designer Aarre Koivisto was given a delicious task: to design two clearly different homes with a key role in depicting the values and lifestyles of the film’s leading characters. The home interiors were built at Suomen Filmiteollisuus’s Liisankatu studios.
Photographs: Suomen Filmiteollisuus Oy collection/KAVA
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The young couple have bought some trendy lamps, such as the Madame table lamp by Lisa Johansson-Pape. Pictured from the left are MP Juhankoski (Eino Kaipainen), architect Pekanpää (Tauno Palo) and his new wife Babs (Hillevi Lagerstam).
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The architect instructing his young assistant (Pirkko Karppi) at the office.
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The architect between his old and new wife. The bay window of the old home’s sitting-room provides a view of Töölö Church. The view was created by a painted backdrop behind the set window in the studio.
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The sitting-room in the old home with Mother (Ansa Ikonen), son Matti (Veli Palonen) and daughter Kaarina (Elina Pohjanpää).
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Father (Tauno Palo) and daughter (Elina Pohjanpää) in front of their home at Topeliuksenkatu 3 B.
GAS, INSPECTOR PALMU!
TWO DIFFERENT STAIRCASES
Perho House (Perhonkatu 11, 1957), designed by Aarne Ervi, was selected as the home and studio of Gas, Inspector Palmu!’s deranged artist Kurt Kuurna (Pentti Siimes) thanks to its magnificent spiral staircase, which seems to be suspended in mid-air.
Set designer Ensio Suominen’s perception of the bohemian interiors of the artist’s studio was built at Fennada-Filmi’s studios in Kulosaari. The set featured fresh and impressive elements, such as Harry Bertoia’s Diamond and Bird chairs, which went on to become classics of design. An important role was also played by Tapio Wirkkala’s K10-11 foot lamp, nowadays a coveted design classic, which provided the lighting for the dark closing scene.
Directed by Matti Kassila, Gas, Inspector Palmu! (1961) is based on Mika Waltari’s 1939 crime novel Kuka murhasi rouva Skrofin? (Who Murdered Mrs Skrof?). Mrs Skrof’s home was an impressive block of flats at Merikatu 7, designed by architect Runar Finnilä in 1926.
The staircase of Mrs Skrof’s home was also built at the Kulosaari studios. The centre of the two-storey staircase set, fully open on the other side, had room for a lifting platform for a film camera. This enabled the unobstructed filming of actors walking up and down the stairs.
Photographs: Fennada-Filmi Oy/YLE
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The staircase of Perho House (Perhonkatu 11, 1957), designed by Aarne Ervi. Photo: RTM.
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Set designer Ensio Suominen’s perception of Kurt Kuurna’s studio. Pictured from the left are Virta (Matti Ranin), Kaarlo Lankela (Saulo Haarla), Kurt Kuurna (Pentti Siimes) and Inspector Palmu (Joel Rinne).
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Kokki (Leo Jokela) and Virta prevent Kurt Kuurna’s desperate intentions on the staircase of Perho House.
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Kurt Kuurna’s studio provides a generous view of Helsinki rooftops, created using a photograph backdrop. The light source in the studio is the Akari 10A rice paper lamp, designed by Isamu Noguchi in 1951.
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The former tennis halls by Lars Sonckin tie were converted for film use in 1951. The photo shows director Matti Kassila in the middle and set designer Ensio Suominen leaning on the railing on the left.
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The film being shot in Laivanvarustajankatu in spring 1961. Director Matti Kassila in the middle. Camera operator Esko Nevalainen looking into the viewfinder of the Debrie camera on the left.
THE STARS WILL TELL, INSPECTOR PALMU
In Matti Kassila’s third Palmu film (1962), the design of the new decade is also evident at the Senaatintori police station: wearing a fashionable suit even in the tightest spots, young Judge Virta (Matti Ranin) commands his team through the intercom. Even the changed curtains in the office herald the beginning of a new era. Pictured here are Inspector Palmu (Joel Rinne, on the right) and Detective Kokki (Leo Jokela).
The Inspector Palmu stories were based in the Senaatintori police station, known to all Helsinki residents at the time. Helsinki’s police headquarters did not move from Senaatintori to Pasila until 1982.
The exterior shots in Palmu films were shot on location, in the middle of the real city. Most of the interiors were built in the studio, as was customary at the time, and so were the offices and corridors of the police station.
Photographs: Fennada-Filmi Oy/YLE
THE SCARLET DOVE
A NIGHTMARE ABOUT DISAPPEARANCE
The protagonist of Matti Kassila’s The Scarlet Dove (1961), doctor Olavi Aitamaa (Tauno Palo), suspects his wife Helena (Gunvor Sandqvist) of deceitful intentions. The doctor shadows his wife and her supposed lover (Matti Oravisto) through the autumnal Helsinki.
The leading character’s dark, nightmarish frame of mind is reflected by the dark side of the city – the night-time streets of Kallio. The doctor’s nocturnal anguish culminated in the empty plot at Castréninkatu and Kirstinkatu, where the wooden houses of a worker housing company Terho had just been demolished. The home of the mysterious young lady he had just visited no longer existed.
The big change that was taking place in the Kallio district at the time of filming – the demolition of the wooden houses and the intense construction of large blocks of flats – was captured in the film as part of an imaginary nightmare.
Photographs: Suomen Filmiteollisuus Oy collection/KAVA
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Doctor Aitamaa (Tauno Palo) shadowing his wife by the Havis Amanda fountain.
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The stylish canopy of the Olympic Pier at South Harbour (Aarne Hytönen, Risto-Veikko Luukkonen, 1952) conceals the doubtful doctor’s progress.
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Doctor Aitamaa comes within hearing distance of his wife (Gunvor Sandqvist) and her supposed lover (Matti Oravisto) at the Rowing Arena (Hilding Ekelund, 1939).
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The exterior of the home of the doctor’s new acquaintance, “the Red Dove” (Helen Elde), was shot in Vallila (Virtaintie 7).
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“I have no view...” says the young lady, describing her abode. The interior of the wooden home was built at SF’s studios at Liisankatu 14 according to set designer Aarre Koivisto’s plans.
JUSTUS WILL TAKE CARE OF EVERYTHING (Lasse Pöysti, 1960)
The home of unemployed inventor Justus (Lasse Pöysti) in an old wooden house in Kallio is condemned. Justus ends up on the street but decides to start up an enterprise of his own: Oy Kaikki järjestyy Ab (Will Take Care of Everything Inc.).
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Kolmas linja 17, just being demolished, with Justus (Lasse Pöysti) and another homeless person, Bella (Elina Salo).
Photograph: Fennada-Filmi Oy/YLE
GAME OF LUCK
Like many of his contemporaries, director Risto Jarva was interested in city planning and the prospects for cities. Game of Luck (1965) repeatedly contemplates how the rapidly changing Helsinki should be developed. The leading characters dream about city centre blocks enlivened by boutiques and cafés. The protagonist, journalist Jussi (Jaakko Pakkasvirta) visits the station tunnel construction site and roams the demolition site of the Kino-Palatsi cinema.
The great enthusiasm to put up new buildings and tear down old ones also started receiving criticism in the 1960s. While the Kino-Palatsi building and the old Kämp hotel and restaurant were demolished, constructors were obliged to reconstruct Kämp’s façade and the legendary Mirror Room in a way that restored their old appearance. But as the protagonist of Game of Luck says, “city life is more than just façades”.
Journalist Jussi’s office is located on the roof floor of Kampin Autotalo at Fredrikinkatu 46. The building was designed by Eino Tuompo and Veli Valorinta in 1958. The area has long-standing traditions in film-making as Suomen Filmiteollisuus Oy’s studio was located in a former garrison building at Fredrikinkatu 54 in 1936–1945. Hundreds of scenes were shot on sets built in the studio. The red brick garrison building was probably demolished in the late 1950s.
Photographs: Filminoir Oy, Helsinki City Museum
ADVENTURE STARTS HERE
Directed by Jörn Donner, Adventure Starts Here (1965) offers a generous and diverse depiction of old and new Helsinki in the 1960s. The protagonist, architect Toivo Pajunen (Matti Oravisto), and his beloved, Swedish fashion designer Anne (Harriet Andersson), wander around the city in many moods.
The architect and his beloved have highly different conceptions of Helsinki. Anne wonders to herself, “why did I ever come to this depressing little town...”, and Toivo contemplates: “This is my home town. I can’t give you much more than this... Just the scent of the summer morning by the water, the vastness of the square.”
The city is changing fast, and the designer has a strong role in this. However, constructors criticise Toivo for excessive expense and bluntly recommend a change of career. The film links the throes of creating idealistic architecture with the sore points in the architect’s personal life: memories of war and difficulties in his love affair with Anne, an independent and detached modern woman. Architect Pajunen only wants to create “a world as beautiful and pure as the works of Alvar Aalto...” Villa Ervi, the office and home at Kuusiniementie 5 designed by architect Aarne Ervi for his family, served as Toivo Pajunen’s home in the film.
Photographs: Fennada-Filmi Oy/YLE
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The costumes worn by elegant Swedish Anne (Harriet Andersson) came from the Balmain fashion house.
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The architect takes his sweetheart to see his modest childhood home at the Ruoholahti villas (Lastenkodinkatu 2–10).
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This strongly-worded meeting was shot at architect Aarne Ervi’s office in Villa Ervi. The studio wing of the building was completed in the early 1960s.
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Villa Ervi’s residential wing was completed in 1950.
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Architect Toivo Pajunen (Matti Oravisto) is an admirer of Alvar Aalto’s work. The Uspenski Cathedral and Enso-Gutzeit Headquarters (Alvar Aalto,1961) are shown in the background.
OPEN SECRET
A HOUSING CONSTRUCTION DRAMA
A recurrent subject in 1960s films is the great change in the construction industry and the ethics of contractors’ operations. In Maunu Kurkvaara’s film Open Secret (1962), young architect Pentti Vaara (Jarno Hiilloskorpi) and his senior colleague, architectural studio director Toivo Koski (Kalervo Nissilä) fall out with a developer who wants everything to be efficient. For the client, the main thing is to build “as much as possible for as little as possible”.
Looking at the new high-rise blocks of flats in the Kallio district, Toivo Koski ponders: “Even those are nothing but slums...” In the film shot in early 1962, the architect’s strict gaze was fixed upon the new residential blocks by Kolmas linja and Castréninkatu.
The designers find the hectic schedules and growing profitability requirements unreasonable. Also disappointed in his personal life in many ways, the film’s middle-aged architect ends up committing suicide.
Photographs: Kurkvaara-Filmi Oy/MTV 3
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Architect colleagues Toivo Koski (Kalervo Nissilä, on the left) and Pentti Vaara (Jarno Hiilloskorpi) supervising a vast building site in Niemenmäki.
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Young architect Vaara starts investigating his boss’s fate.
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The architectural studio’s secretary (Sinikka Hannula) leaving work on time.
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The architect friends (Kalervo Nissilä and Pehr-Olof Sirén) in front of As. Oy Tonttukallio’s terraced houses. Designed by Jaakko Laapotti and Toivo Korhonen, the atrium houses were completed in 1959.
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In the film, the interiors of the architect’s home were set upstairs from the Artek shop at Keskuskatu 3. Frustrated Mrs Koski (Kyllikki Forssell) asks the young architect for reasons for her husband’s desperate solution.
A TIME OF ROSES
FINLAND IN 2012
In Risto Jarva’s A Time of Roses (1969), according to the official opinion of the History Institute, Finland in 2012 has survived turbulent times and become human-centric and liberal: class boundaries have disappeared and the keyword is progress. However, it emerges that the official opinion has its sceptics.
The home of the protagonist, researcher Raimo Lappalainen (Arto Tuominen), who echoes the History Institute’s views, has been furnished with some top 1960s design: transparent, inflatable plastic chairs (Blow chairs from 1967) and the latest large Marimekko patterns designed by Maija Isola. The air-filled seats play a significant role in the story – the inebriated protagonist, passed out with his face against the chair, is suffocated after a sharp point in his necklace punctures the plastic chair. Researcher Lappalainen’s questionable methods yield tragic results.
The script, set design and editing of the film were carried out by means of teamwork. The interior sets were built in the Pasila Community Hall and at Filminor Oy’s studio.
Photographs: Filminor Oy/??
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Raimo Lappalainen (Arto Tuominen) studies the past through the story of an individual. His subject is Saara Turunen (in the picture, Ritva Vepsä), who lived in the 1960s.
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Anu Huotari (Tarja Markus) is researcher Raimo Lappalainen’s assistant. The costumes in the film were designed by Saini Salonen.
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Anu Huotari (Tarja Markus) has gained additional research material thanks to an exciting piece of equipment.
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The inflatable Blow chairs were a central element in the researcher’s home. Set design for the film was carried out by a workgroup consisting of Lauri Anttila, Antti Peippo, Juhani Jauhiainen, Kullervo Kukkasjärvi and Matti Mansner.
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The researchers’ friends and family partying.
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The photo shows director Risto Jarva in the middle and assistant director Titta Karakorpi to his right.
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