Masters of Finnish Cinematography (seminar)

Juha (1937). Heikki Aho and Björn Soldan, the sons of the author Juhani Aho, produced and photographed the film adaptation directed by Nyrki Tapiovaara. With Irma Seikkula (Marja) and Walle Saikko (Shemeikka). Photo: KAVI. Please click to enlarge the images.

SUOMALAISET MESTARIKUVAAJAT -seminaari elokuvateatteri Orionissa 4.11. klo 10–16.00
    In the presence of Jouko Aaltonen, Pekka Aine, Pia Andell, Erkka Blomberg, Tahvo Hirvonen, Jorma Höri, Lasse Naukkarinen, Erkki Peltomaa, Hannu Peltomaa, Seppo Rustanius, Pauli Sipiläinen, Kari Sohlberg, Ville Suhonen, and Juha-Veli Äkräs.
    Cinema Orion, Helsinki, 4 Nov 2017.

Klo 10.00 – 12.00     
1930-luvun modernistit

Erik Blombergin, Olavi Gunnarin, Eino Mäkisen, Heikki Ahon ja Björn Soldanin uraa esittelevät Jouko Aaltonen, Erkka Blomberg ja Ville Suhonen.

This photo is not from Kamerat pyörivät / [Roll the Cameras] (1935) but from the production of a film discussed in it: Kaikki rakastavat / [could be translated as: Love Is All Around]. The crew in Hanko. From the left the camera assistant Sulo Tammilehto, the director Valentin Vaala, the cinematographer Theodor Luts and the camera crew member Eino Heino. Luts's Askania silent camera has been equipped with a sound blimp. Photo: KAVI.

Kamerat pyörivät (1935)

Eino Mäkinen (1908–1987) was a master photographer and cinematographer who shot some 40 ethnographical documentaries with a Flahertyan approach. This photograph is Lehmisavua / Cow Smoke. Cows smoked themselves to repel gadflies.

On location for VMV 6 (1936) at the Pirttisaari island. The cinematographer Erik Blomberg stands to the right. The producer-director Risto Orko is checking the camera angle. Photo: KAVI

Erik Blomberg – elämä ja kamera (1982)

katkelmia dokumentista sekä runsaasti näytteitä kuvaajien töistä.

Tauko. Aulassa kahvila ja valokuvanäyttely suomalaisten kuvaajien työstä.

Klo 12.30 – 14.30
Studiokauden kuvaajat

Felix Forsman was the cinematographer of Valkoiset ruusut / White Roses (1943), Hannu Leminen's adaptation of Stefan Zweig's Letter from an Unknown Woman that preceded Max Ophuls by five years. With Helena Kara as the unknown woman and Tauno Palo as the internationally renowned artist who always forgets her. Photo: KAVI.

Pia Andell kertoo Felix Forsmanista
katkelmia Forsmanin haastatteluista ja kuvaamista elokuvista.

Mitä on Suomi-filmi? / [What Is Suomi-Filmi?] (1938), a 20th anniversary introduction to the Suomi-Filmi company, very well photographed by Felix Forsman, screened in a beautiful digital transfer.

Felix Forsman shot the Finnish Defense Forces' newsreels #49 and #52 covering Adolf Hitler's visit to Finland to celebrate Marshal Mannerheim's 75th birthday on 4 June 1942 and Mannerheim's return call on 27 June 1942. Hitler's only visit abroad (outside territory occupied by Germany) during his reign. The photo is not from the newsreels. Mannerheim was not happy that the visits were filmed and photographed and demanded the release of the newsreels to be restricted to the minimum.

Felix (1988), on Felix Forsman, by Juho Gartz and Lauri Tykkyläinen. Starring Salla Huovinen. Narrator: Asko Sarkola.

katkelmia Uno Pihlströmin kotielokuvista, mm. Herra ja ylhäisyys -elokuvan kuvauksista.

Shot by Esko Nevalainen: Elokuu / Harvest Month (1956), directed by Matti Kassila, with Toivo Mäkelä, Emma Väänänen, and Severi Seppänen.

Esko Nevalaisen haastattelusta ja  Nevalaisen elokuvista.
Reino Tenkasen haastattelusta.

Studiokauden murrosvaiheesta esittää puheenvuoron mm. Kari Sohlberg.

The editor Armas Vallasvuo and the cinematographer Osmo Harkimo editing Tuntematon sotilas / The Unknown Soldier (1955).

Klo 14.30–16.00
Tuntemattoman sotilaan kuvaajat

Tahvo Hirvonen kertoo Osmo Harkimosta ja Olavi Tuomesta näytteiden kera.
Katkelmia Edvin Laineen versiosta ja Harkimon haastattelusta.

Yhteistyössä: Risto Jarva -seura ja Suomen Elokuvaajien Yhdistys F.S.C.

AA: Finnish cinematography had a high standard from its beginning around the year 1905:  from the start the composition and the definition of light were beautiful for instance in views photographed by Oscar Lindelöf for Atelier Apollo.

This seminar organized by the Finnish Society of Cinematographers (F.S.C.) focused on influential masters from the 1920s to the 1960s. Cinematographers still active or alive today were intentionally omitted.

The first section was devoted to the modernists Heikki Aho, Björn Soldan, Olavi Gunnari, Eino Mäkinen, and Erik Blomberg.

The second section focused on masters of the studio system such as Felix Forsman, Uno Pihlström, and Esko Nevalainen.

The third section had been reserved for three film adaptations of The Unknown Soldier (1955, 1985, and 2017), but as their invited cinematographers were unable to attend there was a general discussion instead. Kari Sohlberg, Tahvo Hirvonen, and Pekka Aine shared their comments on Osmo Harkimo and Olavi Tuomi.

We watched a sequence from the black and white 1955 film adaptation, shot by Pentti Unho, Osmo Harkimo, Olavi Tuomi, and Antero Ruuhonen, newly restored by KAVI. We saw the sequence of the night patrol where Lehto (Åke Lindman) and Riitaoja (Olavi Ahonen) meet their maker. Brilliantly shot with the smooth and assured studio age approach, and realistic enough with artificial light.

The 1985 film adaptation was shot in colour with handheld camera and available light by Esa Vuorinen. The look is very different. Much remains in the darkness.

The 2017 adaptation has been shot digitally by Mika Orasmaa. The handheld impact is less obtrusive, and there is more detail in the darkness than in the 1985 version.

This sequence is a study on ways of facing death. The Edvin Laine version is already excellent in this.

"In the face of death a man does not act". These men do act but they do it so well that they make us forget it. The sense of the presence of death is real.