Alla älskar. FI 1935. PC: Suomi-Filmi. P: Risto Orko. D: Valentin Vaala. SC: Valentin Vaala, Topo Leistelä – based on a screen story by Jussi Routa. DP: Theodor Luts. AD: Ossi Elstelä. M: Into Aapa (= Pekka Akimov). ED: Valentin Vaala. S: Pertti Kuusela. C: Ansa Ikonen (Sirkka Mares), Tauno Palo (Arvo Lähde), Birgit Nuotio (Kirsti Kallio), Jalmari Rinne (Karma, an engineer), Uuno Laakso (Sydänmurto, an artist), Martta Suonio (Josefine, mistress of a boarding house), Elna Hellman (Kaisu, housemaid of the boarding house), Matti Lehtelä (Hiski, a hired hand at the boarding house), Eine Laine (Mrs. Mares), Yrjö Tuominen (Judge Mares), Kirsti Suonio (Mrs. Lähde), Aino Lohikoski (a housemaid at Mares), Kaarlo Wilska. Helsinki premiere: 24.11.1935 – telecasts: 18.5.1970 MTV1, 6.9.1980 MTV2, 26.1.1983 TV1, 19.8.1994 TV2, 30.9.1998 TV1 – classification: A-551 – 2200 m / 80 min. KAVA 4K DCP (digitally restored in 2013) at Cinema Orion, Helsinki (Digital Restorations), 22 May 2013
KAVA digital restoration facts (2013): - A full 4K restoration. - A 4K DCP screening file. - Scanned at DFT Scanity at a resolution of 4152 x 3164, the native resolution of the cell. The precision of the raw scan is significantly higher than the 2160 vertical pixels of the 4K DCP. A resolution as high as this gives good flexibility for restoration.
The starting point was the original Kodak nitrate negative. Although a first generation source, it was in remarkably weak condition due to the high volume of copies printed from it.
Frame by frame dirt and scratches were removed. In difficult cases, in which there is a lot of movement, a part of the dirt was left in the image since the corrected result looked worse than the original scratch. Besides dirt and annoying scratches various sorts of damage on the film had to be corrected. A lot of effort was put to fix joins. Distortion caused by a thick tape join affected in the worst cases several frames in both directions from the point of the join. Scene by scene the image was stabilized and flicker was corrected. DaVinci Revival was utilized in the restoration.
When the original negative is the starting point in the scanning the image has to be entirely re-timed. The definition of light to the restored image was performed on DaVinci Resolve. The tonal range of an original print was used as reference.
The sound source was a magnetic sound tape, a so-called archival cord produced from the original sound negative. The sound negative itself was unavailable due to damage. Although the magnetic sound is a second generation source it is as a rule easier to access as a source than optical film sound. The original mono sound of the film is unfortunately of weak quality, and at times the balance of dialogue and noise is weighing heavier on the noise. The objective was to produce the most pleasant-sounding print possible in the circumstances. While it was not possible entirely to remove the background noise, the attempt was to muffle it sufficiently. Excessive processing tends to render the sound artificial. Besides the noise, distracting snaps and hisses were removed, and, whenever possible, distortion was corrected. (My translation)
The romantic musical comedy Kaikki rakastavat is a key work in Finnish film history since it was the first feature film of Valentin Vaala as the house director of Suomi-Filmi and the film which launched the most beloved screen couple of Finland, Tauno Palo and Ansa Ikonen. Some of the best-known Finnish film stills stem from Kaikki rakastavat.
That said, Kaikki rakastavat is not one of Vaala's best films. He had done inspired work with Teuvo Tulio, and he had founded Finnish urban comedy in his subsequent work. While there are nice moments in Kaikki rakastavat, mostly it's dreary and unfunny.
Redeeming features: - The score by Into Aapa = Pekka Akimov is inspired and sounds good in this restoration. - In the beginning Kaikki rakastavat is flying like a musical; subsequently it gets more pedestrian with some weak farce efforts by some of the cast. - The sense of fun, the sense of joy is the Vaala touch in this movie, despite all the dreary farce elements.
Fun fact: Jalmari Rinne, playing the rival very well here, became the husband of Ansa Ikonen four years later.
Visual quality and sound quality: - One can appreciate the visual style of Valentin Vaala and his cinematographer Theodor Luts in this digital version. There are brief moments where one can see the damage of the source material. - The sound has been restored with loving care, but some distortion remains due to the condition of the source. - Summa summarum: this is a very good presentation of Kaikki rakastavat regarding the condition of the source materials.
MUSIC LISTING FROM THE FINNISH NATIONAL FILMOGRAPHY
1. "Alkusoitto"
Säv. Into Arpa
Orkesteri (off), 1' 20".
2. "Valse"
Säv. Into Arpa
1) Orkesteri (off), 0' 15".
2) Orkesteri (off), kahteen kertaan, yht. 2' 10".
3) Orkesteri (off), 0' 40".
3. Minun kultani kaunis on / Kullan ylistys
Säv. ja san. trad.
1) Es. Birgit Nuotio ja "juhlijat", laulu (100 %), 0' 30".
2) Orkesteri (off), kahteen kertaan, yht. 0' 15".
4. "Foxtrot"("Yö on tumma, ja sävel kumma - -")
Säv. Into Arpa, san. Eine Laine
1) Es. Ansa Ikonen ja Tauno Palo, laulu (100 %, tanssiorkesterin säestys), 3' 05".
2) Tanssiorkesteri (off), 0' 35".
3) Tanssiorkesteri (off), kahteen kertaan, yht. 2' 15".
5. "Slowfox" ("Päivän touhu taukoo, yö saapuu yllättäin - -")
Säv. Into Arpa, san. Eine Laine
1) Tanssiorkesteri (off), kahteen kertaan, yht. 4' 15".
2) Es. Birgit Nuotio, flyygeli (playback, tunnistamaton pianisti), 0' 30".
3) Es. tanssiorkesteri (off ja 100 %), 1' 15".
4) Es. tunnistamaton laulaja ja tanssiorkesteri (100%), 1' 15".
6. Vem kan segla utan vind / Ken voi tyynessä seilata / Hiljaa juuri kuin lammen laine
Säv. trad.
Es. Elna Hellman, hyräily (100 %), 0' 25".
7. O sole mio / Aurinkoiseni / Aurinkoni / Aurinkoinen / Oi aurinkoni
Säv. Eduardo Di Capua
Es. Uuno Laakso, laulu (100 %), kolmeen kertaan, yht. 0' 30".
8. Marssi
Säv. Into Arpa
Orkesteri (off), 0' 30".
9. Siellä kukkakummun alla on maja neidolla
Säv. ja san. trad.
Es. Elna Hellman ja Matti Lehtelä, laulu (100 %), 0' 15".
10. Heidenröslein / Ruusu kankahalla
Säv. Heinrich Werner, san. Johann Wolfgang von Goethe, suom. Julius Suonio (= Krohn)
Es. Yrjö Tuominen, laulu (100 %), 0' 05".
11. Hinky-dinky parlez-vous / lnke pinke parlevuu
Säv. trad., san. elokuvassa
1) Es. Ansa Ikonen, Uuno Laakso, Jalmari Rinne, Martta Suonio ja Yrjö Tuominen sekä "piccolo", laulu (100 %), 0' 25".
2) Es. Ansa Ikonen, Uuno Laakso, Jalmari Rinne ja Yrjö Tuominen, laulu (100 %), 0' 25".
Huomautuksia:
"Alkusoiton" (nro 1) aiheina ovat "Valse" (nro 2), joka (nro 2:3) on myös elokuvan loppumusiikkina, ja "Foxtrot" (nro 4).
Pasunisti soittaa fanfaarin (100 %), 0' 05", ja Uuno Laakso hoilaa (100 %), 0' 05".
"Juhlijat" ja "kasinovieraat" tanssivat musiikin nro 2:1, 4:1, 4:2 ja 5:3 aikana.
Pekka Akimovin partituuriin tekemien merkintöjen mukaan sävellysten "Valse" (nro 2) ja Marssi (nro 8) lähtökohtana on Fantaisie-Impromptu ut dièse mineur / Fantasia-Impromptu cis-molli, opus 66, säv. Frédéric Chopin, ja "Slowfoxin" (nro 5) lähtökohtana Wiegenlied / Kehtolaulu, säv. Bernhard Flies (tunnetaan yleisesti Mozartin Kehtolauluna).
KAVA digital restoration facts (2013): - A full 4K restoration. - A 4K DCP screening file. - Scanned at DFT Scanity at a resolution of 4152 x 3164, the native resolution of the cell. The precision of the raw scan is significantly higher than the 2160 vertical pixels of the 4K DCP. A resolution as high as this gives good flexibility for restoration.
The starting point was the original Kodak nitrate negative. Although a first generation source, it was in remarkably weak condition due to the high volume of copies printed from it.
Frame by frame dirt and scratches were removed. In difficult cases, in which there is a lot of movement, a part of the dirt was left in the image since the corrected result looked worse than the original scratch. Besides dirt and annoying scratches various sorts of damage on the film had to be corrected. A lot of effort was put to fix joins. Distortion caused by a thick tape join affected in the worst cases several frames in both directions from the point of the join. Scene by scene the image was stabilized and flicker was corrected. DaVinci Revival was utilized in the restoration.
When the original negative is the starting point in the scanning the image has to be entirely re-timed. The definition of light to the restored image was performed on DaVinci Resolve. The tonal range of an original print was used as reference.
The sound source was a magnetic sound tape, a so-called archival cord produced from the original sound negative. The sound negative itself was unavailable due to damage. Although the magnetic sound is a second generation source it is as a rule easier to access as a source than optical film sound. The original mono sound of the film is unfortunately of weak quality, and at times the balance of dialogue and noise is weighing heavier on the noise. The objective was to produce the most pleasant-sounding print possible in the circumstances. While it was not possible entirely to remove the background noise, the attempt was to muffle it sufficiently. Excessive processing tends to render the sound artificial. Besides the noise, distracting snaps and hisses were removed, and, whenever possible, distortion was corrected. (My translation)
The romantic musical comedy Kaikki rakastavat is a key work in Finnish film history since it was the first feature film of Valentin Vaala as the house director of Suomi-Filmi and the film which launched the most beloved screen couple of Finland, Tauno Palo and Ansa Ikonen. Some of the best-known Finnish film stills stem from Kaikki rakastavat.
That said, Kaikki rakastavat is not one of Vaala's best films. He had done inspired work with Teuvo Tulio, and he had founded Finnish urban comedy in his subsequent work. While there are nice moments in Kaikki rakastavat, mostly it's dreary and unfunny.
Redeeming features: - The score by Into Aapa = Pekka Akimov is inspired and sounds good in this restoration. - In the beginning Kaikki rakastavat is flying like a musical; subsequently it gets more pedestrian with some weak farce efforts by some of the cast. - The sense of fun, the sense of joy is the Vaala touch in this movie, despite all the dreary farce elements.
Fun fact: Jalmari Rinne, playing the rival very well here, became the husband of Ansa Ikonen four years later.
Visual quality and sound quality: - One can appreciate the visual style of Valentin Vaala and his cinematographer Theodor Luts in this digital version. There are brief moments where one can see the damage of the source material. - The sound has been restored with loving care, but some distortion remains due to the condition of the source. - Summa summarum: this is a very good presentation of Kaikki rakastavat regarding the condition of the source materials.
MUSIC LISTING FROM THE FINNISH NATIONAL FILMOGRAPHY
1. "Alkusoitto"
Säv. Into Arpa
Orkesteri (off), 1' 20".
2. "Valse"
Säv. Into Arpa
1) Orkesteri (off), 0' 15".
2) Orkesteri (off), kahteen kertaan, yht. 2' 10".
3) Orkesteri (off), 0' 40".
3. Minun kultani kaunis on / Kullan ylistys
Säv. ja san. trad.
1) Es. Birgit Nuotio ja "juhlijat", laulu (100 %), 0' 30".
2) Orkesteri (off), kahteen kertaan, yht. 0' 15".
4. "Foxtrot"("Yö on tumma, ja sävel kumma - -")
Säv. Into Arpa, san. Eine Laine
1) Es. Ansa Ikonen ja Tauno Palo, laulu (100 %, tanssiorkesterin säestys), 3' 05".
2) Tanssiorkesteri (off), 0' 35".
3) Tanssiorkesteri (off), kahteen kertaan, yht. 2' 15".
5. "Slowfox" ("Päivän touhu taukoo, yö saapuu yllättäin - -")
Säv. Into Arpa, san. Eine Laine
1) Tanssiorkesteri (off), kahteen kertaan, yht. 4' 15".
2) Es. Birgit Nuotio, flyygeli (playback, tunnistamaton pianisti), 0' 30".
3) Es. tanssiorkesteri (off ja 100 %), 1' 15".
4) Es. tunnistamaton laulaja ja tanssiorkesteri (100%), 1' 15".
6. Vem kan segla utan vind / Ken voi tyynessä seilata / Hiljaa juuri kuin lammen laine
Säv. trad.
Es. Elna Hellman, hyräily (100 %), 0' 25".
7. O sole mio / Aurinkoiseni / Aurinkoni / Aurinkoinen / Oi aurinkoni
Säv. Eduardo Di Capua
Es. Uuno Laakso, laulu (100 %), kolmeen kertaan, yht. 0' 30".
8. Marssi
Säv. Into Arpa
Orkesteri (off), 0' 30".
9. Siellä kukkakummun alla on maja neidolla
Säv. ja san. trad.
Es. Elna Hellman ja Matti Lehtelä, laulu (100 %), 0' 15".
10. Heidenröslein / Ruusu kankahalla
Säv. Heinrich Werner, san. Johann Wolfgang von Goethe, suom. Julius Suonio (= Krohn)
Es. Yrjö Tuominen, laulu (100 %), 0' 05".
11. Hinky-dinky parlez-vous / lnke pinke parlevuu
Säv. trad., san. elokuvassa
1) Es. Ansa Ikonen, Uuno Laakso, Jalmari Rinne, Martta Suonio ja Yrjö Tuominen sekä "piccolo", laulu (100 %), 0' 25".
2) Es. Ansa Ikonen, Uuno Laakso, Jalmari Rinne ja Yrjö Tuominen, laulu (100 %), 0' 25".
Huomautuksia:
"Alkusoiton" (nro 1) aiheina ovat "Valse" (nro 2), joka (nro 2:3) on myös elokuvan loppumusiikkina, ja "Foxtrot" (nro 4).
Pasunisti soittaa fanfaarin (100 %), 0' 05", ja Uuno Laakso hoilaa (100 %), 0' 05".
"Juhlijat" ja "kasinovieraat" tanssivat musiikin nro 2:1, 4:1, 4:2 ja 5:3 aikana.
Pekka Akimovin partituuriin tekemien merkintöjen mukaan sävellysten "Valse" (nro 2) ja Marssi (nro 8) lähtökohtana on Fantaisie-Impromptu ut dièse mineur / Fantasia-Impromptu cis-molli, opus 66, säv. Frédéric Chopin, ja "Slowfoxin" (nro 5) lähtökohtana Wiegenlied / Kehtolaulu, säv. Bernhard Flies (tunnetaan yleisesti Mozartin Kehtolauluna).
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