Aikalainen / The Contemporary

Timo Linnasalo: Aikalainen / The Contemporary (FI 1984), Based on Notes from Underground (Записки изъ подполья, 1865) by F. M. Dostoevsky, starring Paavo Piskonen as the Underground Man and Kati Outinen as the Prostitute.

En samtida. FI 1984. D: Timo Linnasalo. Based on the novel Notes from Underground (Записки изъ подполья / Zapiski iz podpolja, 1865) by F. M. Dostoevsky. Starring Paavo Piskonen (the Underground Man). 72 min. Viewed at Cinema Orion, Helsinki, 14 September 2008. – In the presence of Timo Linnasalo and Paavo Piskonen, interviewed by ?Eero Tammi?. TL and PP told that the idea came from PP, based on the dramatization by Ilpo Tuomarila, directed for the stage by Heikki Mäkelä. A Russian critic commened: poor guys, now you'll never get rid of Dostoyevsky. Piskonen met Jack Nicholson in ?Cannes?,and he said: Know Thyself. – This time I watched only the introduction to this rare film version of the first existentialist novel.

Raskolnikow (1991 NFM restoration)

Robert Wiene: Raskolnikow (DE 1923) with Grigori Chmara (Raskolnikov). Sets by Andre Andrejev. Cinematography by Willy Goldberger. Photo: La Cinémathèque française, Paris.

012128 / (banned 1923) / DE / 1923 / Wiene, Robert / / drama

Raskolnikow. PC: Neumann Film-Produktion. P+D: Robert Wiene. Based on the novel Crime and Punishment by F. M. Dostojevski. DP: Willy Goldberger. AD: Andre Andrejew. CAST: Grigori Hmara (Raskolnikov), Maria Kryjanovskaja (Sonia), Mihail Tarhanov (Marmeladov). Silent b&w. Restored version by the Netherlands Film Museum with contributions from Gosfilmofond. Munich print 3031 m /18 fps/ 147 min. Fine Finnish translation spoken by Laura Mehto. Presented by Kristin Thompson. Viewed at SEA, Helsinki, Cinema Orion, Tuesday 16 December 1997. *** The film, banned by the Finnish Film Chamber in 1923, was now seen for the first time in Finland. Part of the Russian fashion of the era, this one was actually filmed with actors from Stanislavsky’s Moscow Art Theatre. Full of soul but horribly overacted. One is struck by the difference with the subtle understatement of Jevgeni Bauer’s 1917 films. Still, this is faithful to Dostoyevsky: it has the passion for the suffering of humanity. The actual text of the novel is judiciously used in the titles, which take full advantage of the author’s grim sense of humour. The words sound good in German. ”Nach langem, schwerem Fieber…”. The Russian art director is totally under the influence of Caligari. This is one of the very few purely Caligarian films.