Koskenlaskijan morsian / [The Rapid-Shooter's Bride] (1923)

Heidi Korhonen

Koskenlaskijan morsian / Forsfararens brud. FI 1923. PC: Suomi-Filmi. P+D+SC+ED: Erkki Karu  – based on the novel Koskenlaskijan morsian: romaani Perä-Pohjolasta [The Rapid-Shooter's Bride: A Novel from the Far North] (1914) by Väinö Kataja. DP: Kurt Jäger, Oscar Lindelöf, Eino Kari, Frans Ekebom. AD: Karl Fager. M compilation arranged for the live cinema orchestra: Uuno Aarto - selections from Erkki Melartin, Oskar Merikanto, Heino Kaski, Jean Sibelius, Uuno Aarto, and folk songs. C: Heidi Korhonen (Nuottaniemen Hanna), Kirsti Suonio (Anna-muori), Konrad Tallroth (Nuottaniemen Iisakki), Aku Käyhkö (Kero-Pieti), Jaakko Korhonen (Paloniemen Heikki), Einari Rinne (Paloniemen Heikki), Einari Rinne (Paloniemen Juhani), Joel Rinne (a lumberjack), Schauman. Location: Iitti: the Mankala falls (in Kymenlaakso, Southern Finland). Studio: Vironkatu Studio. Helsinki premiere: 1.1. 1923 Kino-Palatsi, distributed by Suomen Biografi Osakeyhtiö - telecasts: 11.1.1984, YLE TV1 ja 27.11. 1996, YLE TV1 - vhs: 1992 Suomi-Filmi Oy - classification: 11199 – S –  1900 m [rough estimate]
    A KAVI print of a Suomi-Filmi re-release version with an introduction quote from Roland af Hällström (1936), ♪ piano Joonas Raninen, Cinema Orion, Helsinki (Erkki Karu), 2000 m /20 fps/ 87 min

The first feature film directed by Erkki Karu.

After Ollin oppivuodet, Kihlaus, Anna-Liisa, Finlandia, and Amor omnia, Koskenlaskijan morsian was another step forward in the evolution of the Suomi-Filmi feature film production. The Swedish inspiration, here mostly of Stiller, was more prominent than before. The premiere on New Year's Day in the presence of the prime minister, diplomats, and members of the parliament was a national event. The film was the economically most successful work for the company so far, and it was also the most successfully exported Finnish film so far: to Nordic and Middle European countries, and even to Japan.

The nature (although not actually shot in the far north, unlike in the nature films of Stiller) was firmly integrated to the narrative, following the Sjöström-Stiller ideal. The rapid-shooting scenes seem authentically dangerous. For the first time, the Mankala Falls were used as a film location. The result was so impressive that Mankala became the default choice for rapid-shooting sequences (also in Tukkijoella, 1928, Koskenlaskijan morsian, 1937, Laulu tulipunaisesta kukasta, 1938, Koskenkylän laulu, 1947, Rosvo-Roope, 1949, Hornankoski, 1949, On lautalla pienoinen kahvila, 1952, and Taikayö, 1954 - Tulio also endlessly recycled his Laulu tulipunaista kukasta footage).

The family feud narrative is somewhat heavy handed, and all performances are not always compelling and deeply felt. Yet this is a vehicle for several remarkable movie debuts: Heidi Korhonen, her husband Jaakko Korhonen, Oiva Soini, Einari Rinne and his brother Joel Rinne all debuted here.

The most striking feature now, not mentioned by any of the critics or commentators, is the fact that this really is a vehicle for a female action hero. The title of the film is really relevant. The men are boldly defying the lethal rapids, but Hanna (Heidi Korhonen) is the bravest of them all, insisting in making a final effort to rescue the stranded men, and leading the rescue party on the log raft. This is a novel turn compared with the Stiller log-rolling sagas.

This Suomi-Filmi re-release version, post 1936, is the only one I have seen and the only one that has been available during my lifetime. We do not know when it was made. My hypothesis is that it may have been made for some anniversary event, perhaps the 50th anniversary of the cinema in 1945, or the 25th anniversary of Suomi-Filmi in 1944. It was done in a hurry, not very well, with wrong and clumsy edits, and after the nitrate era a safety print was struck from the nitrate re-release print. The image quality looks duped, some generations removed from the negative. Even so, the film still provides a delightful and engrossing experience. Koskenlaskijan morsian would be a worthy subject for reconstruction and restoration.

The original compilation score for a cinema orchestra:

Osa I
Legenda II, säv. Erkki Melartin
Oi, muistatko vielä sen virren, säv. Oskar Merikanto
Ja onko sun paperisi kastunut, säv. trad.

Osa II
Elegia, säv. Heino Kaski
Voi niitä tuntia tuhansia / Voi niitä tunteja tuhansia, säv. trad.
Hae pois vaan sormukses, säv. trad.
Nocturno näytelmästä Kung Kristian II / Kuningas Kristian II, säv. Jean Sibelius

Osa III
Romance / Romanssi, säv. Heino Kaski
Ja onko sun paperisi kastunut / Onko sun paperisi kastunut, säv. trad.
Silkkisaalia noutamahan, säv. trad.
Voi niitä tuntia tuhansia / Voi niitä tunteja tuhansia, säv. trad.
Matalasta torpasta, säv. trad.

Osa IV
Matalasta torpasta, säv. trad.
Valtion varsalla, säv. trad.
Voi niitä tuntia tuhansia / Voi niitä tunteja tuhansia, säv. trad.
Hae pois vaan sormukses, säv. trad.
Eikä sitä sanaa sanoa saa, säv. trad.
Nocturno näytelmästä Kung Kristian II / Kuningas Kristian II, säv. Jean Sibelius
Pappani maja, säv. trad.
Valtion varsalla, säv. trad.
Eikä sitä sanaa sanoa saa, säv. trad.

Osa V
Koskenlaulu, säv. Uuno Aarto
Polonaise / Poloneesi, säv. Jean Sibelius
Koskenlaulu, säv. Uuno Aarto

Osa VI
Koskenlaulu, säv. Uuno Aarto
Kevätlaulu, säv. Erkki Melartin
Pappani maja, säv. trad.
Ja onko sun paperisi kastunut / Onko sun paperisi kastunut, säv. trad.
Hae pois vaan sormukses, säv. trad.
Ja onko sun paperisi kastunut / Onko sun paperisi kastunut, säv. trad.
Oi, muistatko vielä sen virren, säv. Oskar Merikanto
Nocturno näytelmästä Kung Kristian II / Kuningas Kristian II, säv. Jean Sibelius
Kevätlaulu, säv. Erkki Melartin