Bologna 2005: Official Opening of the Festival: Michael Cimino in Conversation with Peter von Bagh

Michael Cimino. Photo: Entertainment Weekly, 2 July 2016.

Saturday 2 July 2005, Cinema Lumière 2, Il Cinema Ritrovato, Bologna (Via Azzo Gardino, 65). Apertura ufficiale del Festival: conversazione di Michael Cimino con Peter von Bagh, direttore de Il Cinema Ritrovato. A main topic in the conversation was architecture, the idea of landscape and space, the example of Frank Lloyd Wright, and The Fountainhead, the novel by Ayn Rand filmed by King Vidor. Michael Cimino is certainly a very special individual.

IL CINEMA RITROVATO, BOLOGNA, 2-9 JULY 2005 my summary

Frank Capra: American Madness (US 1932) with Walter Huston as the socially conscious banker Thomas Dickson facing a bank run.

THEMES OF THE YEAR

Ritrovati & restaurati
Eventi speciali
La messa in scena della guerra
Cantando durante la guerra
Cinema di propaganda: 1947-1962. Democrazia Cristiana – Partito Comunista Italiano
Progetto Chaplin
Cento anni fa: i film del 1905
Omaggio a Betsy Blair
Omaggio ad André Deed
Omaggio a Lewis Milestone
Dossiers: Buñuel, Chaplin, Fellini La strada, Pasolini, Rossellini
Il Cinema Ritrovato DVD Awards

It was another great year at Il Cinema Ritrovato. There was again triple simultaneous programming, meaning that it was possible to see only a third of it at best. I focused on five themes.
CENTO ANNI FA: I FILM DEL 1905 was a magnificent "festival inside the festival", lovingly covering all aspects of cinema a hundred years ago. Surprisingly many films were shown in good prints.
TIH MINH was the wonderful morning serial of the year.
OMAGGIO AD ANDRE DEED covered the career of the great pioneer and visionary of comedy, also here many new prints were very good.
PROGETTO CHAPLIN brought us in full silent frame several Keystone films which have been available in cropped prints only. A Woman in Paris was premiered with a new Chaplin score; for the first time it is being made available with a good musical score, thanks to Timothy Brock.
THE DOSSIERS presented unknown materials of and about the great masters.

Technically the Cinema Arlecchino screenings were brilliant, and the screening of American Madness was technically for me the high point of the Festival; I heard that the restored UCLA print of Paths of Glory was even better, if that is possible. Some films were presented on video and DVD; there should be a warning about that in the programme schedule. With so many live presentations and exceptionally many short films in different speeds, the Festival's programme mosaic was very successfully realized, and the hospitality and guest service was excellent.

Blow-Up (2005 print check viewing)

Michelangelo Antonioni: Blow-Up (GB/IT 1966). Veruschka (as herself), David Hemmings (Thomas), Vanessa Redgrave (Jane).

Blowup

    GB/IT © 1966 Bridge Films. For Metro-Goldwyn-Mayer. P: Carlo Ponti. D: Michelangelo Antonioni. SC: Antonioni, Tonino Guerra – based on the short story "Final del juego" (1964) by Julio Cortázar. DP: Carlo Di Palma. M: Herbie Hancock. ED: Frank Clarke.

    Starring David Hemmings (Thomas), Vanessa Redgrave (Jane), Sarah Miles (Patricia), Veruschka (herself), Jane Birkin (models), The Yardbirds. 110'.
    A print check viewing of a new 2005 print from Technicolor Hollywood / Warner Bros. / Hollywood Classics. At Finnish Film Archive, Orion, Helsinki, 29 June 2005.

When Teuvo Tulio (1912–2000) died without heirs, the Finnish state inherited him. The Finnish Film Archive used the proceeds from the sale of the tv rights to purchase film classics, among them, Blow-Up.

The 1960s classic still fascinates, also as a Zeitgeist piece. The sad news is that there are now no good prints of Blow-Up. Its brilliant cinematography can not be appreciated in cheapo prints which are far removed from the original. It's ironic that a classic called Blow-Up must be seen in prints which lack detail and in depth. Colour is very important in this film, especially green, but now also the definition of colour is poor. All this because of no good internegatives and light and colour settings. We wanted to buy this print from Warner Bros., the current owner of the MGM library, via Hollywood Classics, but it was as awful as all the others.

PS. Instead we bought from Warner Bros. a brilliant print of The Adventures of Robin Hood (US 1938) of its 2003 restoration. And in the 2017 restoration of Blow-Up it was finally possible to see a great copy of Antonioni's masterpiece again.

La teta i la lluna / The Tit and the Moon

Bigas Luna: La teta i la lluna / The Tit and the Moon (ES/FR 1994). Mathilda May as Estrellita.

Bigas Luna: La teta i la lluna / The Tit and the Moon (ES/FR 1994). Mathilda May as Estrellita.

La teta y la luna / Tissi ja kuu / The Tit and the Moon. 

    ES/FR © 1994 Lolafilms. P: Andrés Vicente Gómez. 

    D: Bigas Luna. SC: Bigas Luna, Cuca Canals. DP: José Luis Alcaine – Eastmancolor – Panavision anamorphic scope. PD: Irene Montcada. M: Nicola Piovani. ED: Carmen Frías. Starring: Biel Durán (Tete), Mathilda May (Estrellita), Gérard Darmon (Maurice), Miguel Poveda (Miquel). 

    This print 91'. 

    A beautiful vintage all-photochemical print without subtitles. 

    Print purchased in a package paid from the Teuvo Tulio fund.

    Print check viewing at Finnish Film Archive, Orion, Helsinki, 16 June 2005. 

The last entry in Bigas Luna's "sex trilogy", this time from a young boy's viewpoint, a personal journey into fantasy memoirs like the ones of which Fellini was famous. The framing story is about climbing the human tower in a fiesta. The son's place in the family has being toppled by a newborn baby, but he still desire's the mother's breast. One need not be a detective to suspect that an obsession like this has its origins in the director's fantasy life. There is a circus couple with an ageing motorcyclist who is a latterday Petomane and his young, sensual wife. There is also a young singing lover to compete for her affections. Bigas Luna milks everything from the subject. The story is beyond taste, but the film is again gorgeously shot. Alcaine the cinematographer and Piovani the composer bring a lot to all the films of the trilogy.

Huevos de oro

Kultaiset munat / Golden Balls. ES (c) 1993 Lolafilms. EX: Andrés Vicente Gómez. D: Bigas Luna. SC: Bigas Luna, Cuca Canals. DP: José Luis Alcaine - Eastmancolor - Panavision anamorphic scope. PD: Irene Montcada. COST: Neus Olivella. M: Nicola Piovani. ED: Carmen Frías. Starring: Javier Bardem (Benito González), Maria de Medeiros (Marta), Maribel Verdú (Claudia), Elisa Tovati (Rita), Raquel Bianca (Ana), Benicio Del Toro (Bob, the friend from Miami). This print 93'. An exquisite vintage used all-photochemical print without subtitles. Print check viewing at Orion, Helsinki, 15 June 2005. The second film in Bigas Luna's signature absurd sex drama "trilogy". This is the story of machismo, the male protagonist whose life is directed by his sex organ. It is also an allegory of the high life and boom economy of the 1980's: the hero is an unscrupulous building contractor, and this is his rise-and-fall story. He betrays everybody, including his sweet wife (Medeiros), before falling to the bottom. There is a karaoke motif ("Only You" / "Por el amor de una mujer") and a Dali motif: Bigas Luna has the nerve to parody Dali in a dream sequence. The cinematography is breathtaking.

Jamón, jamón

Bigas Luna: Jamón, jamón (ES 1992). Penélope Cruz (Silvia), Javier Bardem (Raul).

Kinkkua, kinkkua. ES © 1992 Lolafilms. P: Andrés Vicente Gómez. D: Bigas Luna. SC: Bigas Luna, Cuca Canals, Quim Monzó. DP: José Luis Alcaine. PD: Gloria Martí-Palanqúes, Pep Olive. M: Nicola Piovani. ED: Teresa Font. Starring: Stefania Sandrelli (Conchita), Anna Galiena (Carmen), Juan Diego (Manuel), Penélope Cruz (Silvia), Javier Bardem (Raul), Jordi Mollà (Jose Luis). This print 95'. A beautiful used vintage all-photochemical print without subtitles. From a purchase package with Teuvo Tulio funds. Print check viewing at Orion, Helsinki, 13 June 2005. In this film Bigas Luna found his style of absurd, comic sex drama. Silvia is dating Jose Luis the nerdy inheritor of an underwear company. His love-starved mother sends Raul the underwear model to woo Silvia but falls herself to his charms while Jose Luis frequents the bordello owned by Silvia's mother. It ends with a mortal duel with dried hams. Full of outrageously sexual images, oozing with sensuality, very beautifully photographed by José Luis Alcaine.

FIAF CONGRESS IN LJUBLJANA, 7-12 JUNE 2005

The 61th Congress of Fédération Internationale des Archives du Film (FIAF) took place in Cankarjev Dom, Ljubljana, 5-11 June, 2005. I arrived by the evening of Tuesday, 7 June after an all day journey and returned home in Helsinki in the first hour of Monday, 13 June. I was there as the deputy head of the Commission for Programming and Access to Collections, chairman of the Electronic Subtitling Workshop, and speaker in the Technical Commission Workshop on the digital future from the programming and access viewpoint.

A highlight of the Congress was the launching of Torkell Saetervadet's Advanced Projection Manual, circulating as a fully set model copy, to be published soon as a book.

The digital future, and our profession's existential question "what is film" were discussed in the technical commission's workshop. Mr. Saetervadet analysed some reasons why we still desire film projection:

1. The resolution is generally higher
2. The contrast ratio is better
3. Absolute black levels
4. Better rendering of detail in dark areas
5. Better colour reproduction (colour gamut, colour resolution)
6. No compression artefacts
7. No pixel artefacts
8. Film remains the most universal standard

In my own speech I continued from Torkell: film is the only standard, as there are no video and digital standards so far, in the strong sense of the word as ISO standards of preservation. The current 2K resolution is not good enough for cinema programming. 4K might be enough; 6-8K for CinemaScope, and 10K for 70mm. But digital rights management (DRM) may cause a stop to higher resolution scanning, as digital files are easy prey to piracy.

Erlend Jonassen (Oslo) presented the ambitious video-on-demand service of the Norwegian Film Institute. The FIAF electronic subtitling network keeps expanding, counting now 20 members.

SECOND CENTURY FORUM
The theme was websites interesting for film professionals.

TECHNICAL SITES
1. American Wide Screen Museum
www.widescreenmuseum.com
2. Film Formats
www.xs4allnt.com
3. Kodak
www.kodak.com
4. Film Preservation Society
www.filmpres.org

CONSERVATION
5. National Film Preservation Foundation
www.filmpreservation.org
6. Conservation online
www.palimpsest.standford.edu

CATALOGING
7. MIC
www.loc.gov
8. IMAP
www.imappreserve.org

RESEARCH
9. BIFI
www.bifi.fr/doc_site/francais/index.html
10. CineFiles
www.mip.berkeley.edu

11. BUFVC
www.bufvc.ac.uk/databases/newsreels
12. Library of Congress
www.loc.gov

FILMOGRAPHIES
13. Film Portal
www.filmportal.de
14. International Movie Database
www.imdb.com

ARCHIVE ACTIVIST GROUPS
15. Archive Forum
www.afiresearch.rmit.edu.au
16. Center for Home Movies
www.homemovieday.com

On Thursday, 9 June, there was a bus excursion to Dolenjska in the south-eastern Slovenia. We visited the Dolenjska Museum in Novo Mesto and the Kapitelj Church with their Tintoretto painting. After a drive through the valley of the river Krka we reached the Cistercian Monastery of Pleterje and visited the Dolenjske Toplice Health Resort.

The farewell dinner on 11 June was served in the Ljubljana Castle, hosted by the Ljubljana mayor, Ms. Danica Simsic.

Matador (1986)

Pedro Almodóvar: Matador (ES 1986).

Matador / Matador. ES © 1986 Compañía Iberoamericana de TV / Televisión Española. P: Andrés Vicente Gómez. D: Pedro Almodóvar. SC: Almodóvar, Jesús Ferrero. DP: Angel Luis Fernández. ED: José Salcedo. Starring: Assumpta Serna (María Cardenal), Antonio Banderas (Angel), Nacho Martínez (Diego), Eva Cobo (Eva), Julieta Serrano (Berta), Chus Lampreave (Pilar), Carmen Maura (Julia), Eusebio Poncela (inspector), Bibí Andersen (flower girl). This print 108'. A vintage used all-photochemical print with delicious colour, no subtitles. Print check viewing at Orion, Helsinki, 6 June 2005. Almodóvar's fifth film, an ode to mad love where María the counsellor, the serial killer of matadors, meets Diego the matador who has turned his target from bulls to humans. The story is between myth and pulp fiction with references to Duel in the Sun etc., itself a model for Basic Instinct. Banderas plays a shy boy with a sense of guilt who confesses crimes he didn't commit. Handsome and clever, but not compelling.

Las edades de Lulú

Bigas Luna: Las edades de Lulú (ES 1990) starring Francesca Neri.

Lulu.
    ES © 1990 Iberoamericana Films. P: Andrés Vicente Gómez.
    D: Bigas Luna. SC: Bigas Luna and Almudena Grandes – based on the novel of Almudena Grandes. DP: Fernando Arribas. PD: Miguel Chicharro. COST: Antonio Alvarado. ED: Pablo González del Amo. Sound: Daniel Goldstein, Ricardo Steimberg.
    Starring Francesca Neri (Lulú), Oscar Ladoire (Pablo), María Barranco (Ely), Fernando Guillén Cuervo (Marcelo), Javier Bardem (Jimmy).
    Long version 101 min
    A used print with good definition of colour without subtitles. Print check viewing at Orion, Helsinki, 3 June 2005.

A woman's sexual odyssey from the first experiences of the shy girl to the dangerous adventures of the grown-up woman. A veritable anthology of sexual experience in the modern world, done as explicitly as possible this side of hard-core pornography. Francesca Neri is very good as the title character of this daring film. In the end she gets to experiment with groups of gay men, and is caught in a trap to be tied up and raped in front of paying gangsters (?). This end is too predictable; why do all art films that deal sex themes honestly have to lead to tragedy? Dumb porn is closer to reality with its happy endings. Yet this is an interesting vision of a tornado of desire. The Wedekind reference is deserved.

¡Ay, Carmela!

Carlos Saura: ¡Ay, Carmela! (ES/IT 1990) with Carmen Maura (Carmela).

Oi, Carmela! / Carmela – en spansk historia. ES / IT © 1990 Iberoamericana Films. P: Andrés Vicente Gómez. D: Carlos Saura. SC: Rafael Azcona, Saura – based on the play by José Sanchís Sinisterra. DP: José Luis Alcaine – Eastmancolor. AD: Rafael Palmero. COST: Humberto Cornejo, Mercedes Sánchez. M: Alejandro Massó. Theme "¡Ay, Carmela!" (= "Rumbala..."). Several song numbers. ED: Pablo González del Amo. Sound: Alfonso Pino. Starring Carmen Maura (Carmela), Andrés Pajares (Paulino), Gabino Diego (Gustavete), Maurizio De Razza (Lt. Ripamonte). 102'. An used print with good definition of colour without subtitles. Bought from Rosebud / Lolafilms with the Teuvo Tulio funds. Print check viewing at Orion, Helsinki, 3 June 2005. Carmela and Paulino with their mute assistant are a touring variety act on their way away from the Spanish Civil War 1938 to Valencia. First they perform to the Republicans, but they get caught by the Nationalists, and as an alternative to the firing squad, they have the option to present a Franco-minded act for their troops. A good story, and Carmen Maura is good in the title role as the all-singing, all-dancing earth spirit caught on both sides of the lines, but this is not Saura at his best. Despite the comic plot there is a deep sense of melancholy and despair about the Civil War.

...

SUOMEN ELOKUVA-ARKISTO

finlands filmarkiv

PROGRAM NOTE EDITED BY ANTTI ALANEN

¡Ay, Carmela!

Oi, Carmela! / Carmela – en spansk historia

 

Espanja / Italia © 1990 Iberoamericana Films. Tuotantoyhtiöitä myös: Ellepi Film S.R.L. (Rooma), TVE Televisión Española. Tuotannonjohto: Andrés Vicente Gómez. Ohjaus: Carlos Saura. Käsikirjoitus: Rafael Azcona, Saura – José Sanchís Sinisterran näytelmästä. Kuvaus: José Luis Alcaine – Eastmancolor. Lavastus: Rafael Palmero. Puvut: Humberto Cornejo, Mercedes Sánchez. Musiikki: Alejandro Massó. Laulut: "¡Ay, Carmela!", "Mi jaca", "Hymne di Riego", "Si me quieres escribir", "La hija de Juan Simón", "El pajarillo", "Valencia", "Chaparrita", "Romance de Castilla en armas", "Y antes que crezcan los trigos", "Suspiros de España", "Faccetta nera". Runo: "Tu carta, oh noble corazón en vela" (Antonio Machado). Koreografia: Alberto Portillo. Leikkaus: Pablo González del Amo. Ääni: Alfonso Pino. Pääosissa: Carmen Maura (Carmela), Andrés Pajares (Paulino), Gabino Diego (Gustavete), Maurizio De Razza (ltn. Ripamonte), José Sancho (tykistön kapteeni), Mario De Candia (Bruno), Miguel Angel Rellan (kuulusteleva luutnantti). TV-lähetys Suomessa: 20.12.1995 YLE TV2 – 2819 m / 102 min

    Käsikirjoitus julkaistu: Avant-Scène du Cinéma (n:o 486, novembre 1999).

    Soundtrack-albumi: Milan (1990).

¡Viva la quince brigada!

rumba la rumba la rumba la

¡Viva la quince brigada!

rumba la rumba la rumba la

Que se ha cubierto de gloria

¡Ay, Carmela! ¡Ay, Carmela!

Que se ha cubierto de gloria

¡Ay, Carmela! ¡Ay, Carmela!

 

Carmela ja Paulino ovat kiertävä varieteeduo, jotka pyrkivät mykän apulaisensa kanssa pois Espanjan sisällissodan jaloista Valenciaan vuonna 1938. He esiintyvät tasavaltalaisille, jäävät nationalistien käsiin, ja teloituksen uhalla esittävät Franco-henkisen shown.

    Musiikilla on vahva sija Carlos Sauran elokuvissa; kahdessa trilogiassa Veren häät (1981) – Carmen (1983) – Noiduttu rakkaus (1985) ja Sevillanas (1992) – Flamenco (1995) – Tango (1998) ilmeisimmin. Laulut ovat hänen elokuvissaan muutenkin merkittäviä. Korppi sylissä -elokuvan (1975) tunnussävelestä "Por qué te vas" tuli suursuosikki. Sauraa kiinnostaa musiikki folklorena. Nautintojen puutarhassa (1970) kuullaan "Recordar", Angelica-serkussa (1973) "Rocío" ja Korppi sylissä -elokuvassa "¡Ay, Maricruz!", kaikki nämä Imperio Argentinan esittäminä. Sidotuin silmin -elokuvassa (1978) Conchita Piquer esittää laulun "La lirio". Suloiset hetket (1982) sai nimensä "Recordar"-laulusta. Laulu on tärkeällä sijalla myös Sauran nykyaikaiselokuvissa kuten Vauhtia, vauhtia! (1981), Dispara (1993) ja Taxi (1996). Ei niin, etteivätkö espanjalaiset laulut olisi tärkeitä myös Sauran ohjaaja-kollegoille kuten Basilio Martín Patino (Canciones para después de una guerra, 1971), Jaime Chávarri tai Pedro Almodóvar.

    Sovittaessaan José Sanchís Sinisterran ¡Ay, Carmela! -näytelmää Saura kiinnitti erityistä huomiota lauluihin. Tuloksena on musikaalinen tragikomedia siinä missä Vauhtia, vauhtia! on musikaalinen tragedia. Elokuvassa kuultavista kansalaissodan lauluista "Hymne de Riego" oli omistettu kenraali Rafael de Riego y Núñezille (1785–1823), julistettiin kansallishymniksi 1822 ja myöhemmin tasavaltalaisten hymniksi 1931, ja eri tavoin muutetuin sanoin se symbolisoi monarkian ja kirkon vastaista asennetta. "¡Ay, Carmela!" on sekin Napoleonin aikainen laulu, jota espanjalaississien tiedetään laulaneen jo 1808 ja jolla on ollut monta nimeä ("El ejército del Ebro", "El paso del Ebro", "Rumba la Rumba", "Rumbala"). Se riittyy varsinkin Ebrojoen hirvittävään taisteluun. Samaan taisteluun kytkeytyy toinenkin elokuvassa kuultava sävelmä, "Si me quieres escribir". Muuta kansallis-historiallista musiikkia elokuvassa ovat marcha real, Espanjan virallinen kansallislaulu, "Chaparrita", sekä puola-laiset ja italialaiset laulut.

    Toiseen ryhmään, kupletteihin (coplas), kuuluvat monet elokuvassa kuultavat laulut. Niissä nousevat esiin espanjalaisen kupletin suuret hahmot Estrellita Castro (1912–1983) ja Angelillo (1908–1973). Ensinmainittua pidetään syystä eräänä espanjalaisen laulun uranuurtajana. Ennen "Mi jacaa" (1931) ranskalaisen cuplén vaikutus oli Espanjassa hallitsevana. Imperio Argentinan ja Estrellita Castron ansiosta omaperäinen espanjalainen copla koki nousun, ja "Mi jacasta" tuli eräs kuuluisimmista pasodobleista. Oi, Carmelassa kuultava parodinen versio on tehty varta vasten elokuvaa varten. Vaikka "Suspiros de España" on peräisin vuodelta 1902, se sai valtaisan menestyksen Estrellita Castron esittämänä samannimisessä elokuvassa, jonka Benito Perojo ohjasi vuonna 1938 Ufan studioilla Saksassa. Saura esittää siitä alkuperäisen version. Angelillolle elokuva tekee kunniaa kahdella laululla, "La hija de Juan Simón" ja "El pajarillo". Tuo madridilaissyntyinen laulaja kehitti espanjalaista aflamencada-laulua vaativia orkestrointeja suosien. Hän esiintyi myös kahdessa Luis Buñuelin tuottamassa elokuvassa, La hija de Juan Simón (1935, O: José Luis Sáenz de Heredia) ja Centinela alerta (1936, O: Jean Grémillon). Ensimmäinen sai jättimenestyksen tasavaltalais-Espanjassa, ja Francon voitettua Angelillo joutui maanpakoon Argentiinaan.

    Oi, Carmela on uusi etappi Sauran löytöretkellä espanjalaisen musiikin historiaan, ja kytkemällä sen kansakunnan kipeimpien kokemusten aikakauteen se tarjoaa muistin avaimia "kadonneen ajan etsintään".

– Lähteinä "...Leurs chansons courent encore dans les rues" (Jean-Claude Seguin) ja "Les chants de la guerre d'Espagne" (Pilar Martínez-Vasseur) Avant-Scène du Cinéman numerossa 486 (novembre 1999) edited by Antti Alanen 24.11.2005

Kultainen kynttilänjalka / [The Golden Candlestick] (in the presence of Rauha Puntti)

Kultainen kynttilänjalka. Mirjami Kuosmanen (Erna), Edvin Laine (Markus Mäntylä / Markus Hormi).

Den gyllene ljusstaken. FI 1946. PC: Fenno-Filmi. EX: Yrjö Norta. P: Emil Viljanen. D: Edvin Laine. SC: Laine, Erkki Uotila from a treatment by Toivo Kauppinen. DP: Esko Töyri. PD: Karl Fager.
    M: Heikki Aaltoila. Schubert: "Ständchen" (sung twice in Finnish). Mozart: "Voi che sapete" from Le nozze di Figaro. Mendelssohn: "Hochzeitmarsch". Liszt: "Liebestraum".
    ED: Yrjö Norta. Sound. Emil Häkkänen.
    Starring Edvin Laine (Markus Mäntylä = Markus Hormi), Mirjam Novero (Asta Kataja), Rauha Puntti (Ulla Karpela), Esko Saha (Lauri Takala), Jalmari Rinne (banker Kataja), Matti Aulos (O. Takala), Emma Vänänen (Mrs. Takala), Mirjami Kuosmanen (Erna), Paavo Jännes (Reverend Karpela), Enni Rekola (Fanny). 110 min
    A vintage nitrate print with a deep silver glow even in the many dark scenes. Swedish subtitles.
    In the presence of Ms. Rauha Puntti, the sole survivor of the production.
    Viewed in Orion, Helsinki, 1 June 2005.

An expressionistic crime melodrama so heavily overdone, the production year might be 50 years earlier. It's the story of a criminal (Laine) who leads a double life and wants to get established in high society. He has become an influential financier and finds a wife (Novero, his real-life spouse) who is fascinated by his reputation as a ladies' man. There is even a sinister maid (Rekola) whose task it is to drug the wife while the man is away. Subtle it ain't, but there are some fascinating sequences. The best one is the second "Ständchen" scene, where there is a brilliantly caricatured montage of expressions and reactions. The second story is about the young musicians-lovers (Puntti, Saha) who get caught in the criminal's web. They get to walk together towards the light in the end. The story of the golden candlestick is reminiscent of Les Misérables: it becomes the voice of conscience.

Son de mar / Sound of the Sea

ES © 2001 Lolafilms. P: Andrés Vicente Gómez. D: Bigas Luna. SC: Rafael Azcona – based on the novel by Manuel Vicent (1999). Excerpt from Virgil's Aeneid. DP (Eastmancolor) : José Luis Alcaine. AD: Pierre-Louis Thévenet; set dec: Iñigo Navarro. COST: Macarena Soto. M: Glen Johnson. "Gangsta's Paradise" perf. Coolio; "It's Not Unusual", perf. Tom Jones. Sound: Ricard Casals (Dolby Digital). ED: Ernest Blasi.
    Starring: Jordi Mollà (Ulises), Leonor Watling (Martina), Eduard Fernández (Sierra). In Spanish.
    2811 m / 102 min     A beautiful 35 mm print without subtitles. Gorgeous all-photochemical look.
    Print check viewing at Orion, Helsinki, 1 June 2005.

An erotic romance in a small town by the Bay of Valencia of the Balearian Sea. Bigas Luna's love hymn to the fascination of the Mediterranean Sea, the fatal surge of life and death, with references to classical legends from the ages of Homer and Virgil. The young teacher Ulises comes to town and falls in love with they young Martina who has been dating the construction executive Sierra. There's a wedding, and a baby son. Ulises disappears in the boat named Martina which is found wrecked. But he returns after some years to find Martina married to Sierra. They start their love affair in secret, more torridly than ever. They leave in the yacht Son de mar, but it's a trap. Alcaine's cinematography is excellent. The film is an object of beauty. It glorifies the female charms with a special interest in the naked breasts. And oranges, tuna fish, the sea. Leonor Watling is scintillating. After a while, crocodile? The story is nonsense, it's about the vision and the sound (of the sea).

Le Clan des Siciliens / The Sicilian Clan

Le Clan des Siciliens. Alain Delon (Roger Sartet), Jean Gabin (Vittorio Manalese), Lino Ventura (inspector Le Goff).

Sisilialaisklaani / Sicilianska klanen. FR © 1968 Les Productions Fox Europa, Les Films du Siècle. P: Jacques-Eric Strauss. D: Henri Verneuil. SC: Verneuil, José Giovanni, Pierre Pelegir – based on the novel by Auguste Le Breton (1967). DP: Henri Decaë – Panavision – Eastmancolor. PD: Jacques Saulnier. COST: Hélène Nourry. M: Ennio Morricone. ED: Pierre Gillette.
    Starring: Jean Gabin (Vittorio Manalese), Alain Delon (Roger Sartet), Lino Ventura (inspector Le Goff), Irina Demick (Jeanne Manalese), Amedeo Nazzari (Tony Nicosia), Sydney Chaplin (pilot). 124'.
    A vintage 35 mm print with fine definition of colour and Swedish subtitles by Olle Ekelund.
    Viewed at Orion, Helsinki, 31 May 2005.

Henri Verneuil and his trusted star team (Gabin, Delon, Ventura) at their best. It's a big caper story where the Sicilian family located in Paris plans an ingenious heist of the top secure jewelry collection at Rome's Villa Borghese to be transported to New York. They hijack the plane to a highway construction site as all NYPD are waiting for them at La Guardia. The weakness of Delon for women in general and the voluptuous charms of Irina Demick in particular does for them what the united police forces of France, Italy and the USA cannot. Designer Saulnier and cinematographer Decaë are at the top of their game. There's an elegant confidence and a sure sense of timing in Verneuil's touch right from the beginning as Delon's flight from the police prison car is detailed. There is a master of mise-en-scène to be discovered in Verneuil's best films. Yes, the crooks are impossibly glorified. Gabin to Ventura: "On y va". To his grandson: "Pas ce soir".

Tarzan, the Ape Man (1932)

Tarzan, the Ape Man (1932). Maureen O'Sullivan (Jane Parker), Johnny Weissmuller (Tarzan).

Tarzan, viidakon valtias / Tarzan, djungelns konung. US © 1932 Metro-Goldwyn-Mayer. P: Bernard Hyman. D: W. S. Van Dyke. SC: Cyril Hume – dialogue: Ivor Novello – based on the characters by Edgar Rice Burroughs. DP: Harold Rosson, Clyde De Vinna. PD: Cedric Gibbons. ED: Ben Lewis, Tom Held. Sound: Douglas Shearer. Wrangler: Bert Nelson.
    Starring: Johnny Weissmuller (Tarzan), Maureen O'Sullivan (Jane Parker), C. Aubrey Smith (James Parker), Neil Hamilton (Harry Holt). 99'.
    An intact, somewhat duped, 35 mm print with Finnish / Swedish subtitles.
    Viewed at Orion, Helsinki, 29 May, 2005, at the family viewing performance.

I intended to check the start only, but the film is so gripping, I stayed till the end. It still is an excellent jungle fantasy. Everything borders on the caricature, but it works, as there is a sense of wonder all through the picture. For the child, it's an exciting adventure (it's not for the very youngest, as the climax in the giant gorilla pit is quite grim); for the grown-up it's a vision of the Garden of Eden where Tarzan and Jane rediscover what Adam and Eve did. Yes, the blacks are depicted with racism, but also the whites are caricatured as greedy, whip-wielding, insensitive "civilized savages" who do not understand the jungle. They find the elephants' burial ground in the end, and there Jane's father finds his final place to rest. There is a sense of nobility in Tarzan's mutual help network of the jungle, and there is grandeur in the final view as Jane decides to stay with Tarzan, and the sole surviving white ivory-hunter is seen leaving empty-handed.

Eichmann und das dritte Reich / Eichmann and the Third Reich

Erwin Leiser: Eichmann und das dritte Reich / Eichmann and the Third Reich (CH 1961). Adolf Eichmann (1906–1962), a former Schutzstaffel Obersturmbannführer, is the man in the glass booth, sentenced to death at the Jerusalem District Court, Beit Ha'am, 11–15 December 1961.

Eichmann ja kolmas valtakunta / Eichmann och det tredje riket.
     CH 1961. PC: Praesens Film AG (Zürich). P: Lazar Wechsler, in association with Artur Brauner.
    D+SC: Erwin Leiser, in association with Miriam Novitich. DP of new footage: Emil Berna. ED: Hans Heinrich Egger. Original length (Filmportal) 2460 m / 90 min. Finland: 2290 m / 84 min

    Swiss premiere: 25 May 1961.    

    Helsinki premiere: 26 May 1961 Corona, Savoy, Tuulensuu – distributed by Columbia Films Oy Ab.

    Austrian premiere: 2 June 1961.

    A vintage 35 mm print, compilation quality with good definition in the new footage, with Finnish / Swedish subtitles by Aito Mäkinen / Bengt Pihlström.
    Viewed at Orion, 26 May 2005.

Still an exceptional Holocaust movie focusing on one Nazi criminal. It starts in a Jewish cemetery to the sound of a Kaddish. We hear Hitler shouting that the day will come when the ten commandments, the curse of Sinai, will be replaced by the law of nature. The curse of so-called morality will perish in the immortal battle of the survival of the fittest.

Cut to Jerusalem in 1961: video images of Adolf Eichmann's trial. His career is tracked down from 1933 to the present. The antisemitic propaganda of the Third Reich is documented in great detail. The Nazi euthanasia program is documented. Eichmann's role in Austria after the Anschluss, in Czechoslovakia, and in occupied Poland is examined. He was the "Referent der Judenfrage", the expert of the Jewish question in the Gestapo.

Leiser handles with care the antisemitic Nazi propaganda imagery, the real story in the looks of the victims forced to pose for their tormentors. A great deal of the footage is little known even now; the images are both shocking and surprising. New footage includes bland video images from the Eichmann trial and good interviews with three survivors, from the Warsaw Ghetto Yitzhak Zuckermann and Zibia Lubetki, and from Treblinka, Jakov Wiernik.

To the end, Eichmann denies having been more than a little civil servant following the Führerbefehl. He could not even bear the sight of blood, he "had not the makings of a doctor". He was a new kind of murderer, one that kills by signature, an instance of transference of guilt on a world-historical scale. The film would deserve to be better known. Essential in the debate on Holocaust deniers, Holocaust evidence and Hitler's orders. He shouts his aim here loud and clear.

La notte di San Lorenzo / The Night of the Shooting Stars

Tähtikirkas yö / Stjärnklar natt . IT 1981. PC: RAI Radiotelevisione Italiana, Ager Cinematografica. P: Giuliani G. De Negri. D+SC: Paolo Taviani, Vittorio Taviani. DP (1,66, colour, Agfa): Franci Di Giacomo. PD: Gianni Sbarra. M: Nicola Piovani; Verdi: Requiem; Wagner: "O du mein holder Abendstern". ED: Roberto Perpignani. Location: Tuscany.
    CAST: Omero Antonutti (Galvano Galvani), Margarita Lozano (Concetta), Claudio Bigagli (Corrado), Massimo Bonetti (Nicola), Norma Martelli (Ivana). 108'.
    A vintage 35 mm print, mediocre definition, with Finnish / Swedish subtitles by Eija Pokkinen / Maya Vanni.
    Viewed at Orion, 26 May 2005.

During the retreat of the Germans in WWII the inhabitants of the Italian town San Martino flee during the night fearing a retribution which does indeed occur, during a service in the church, of all places. This is the story of the flight of a group of people of all ages. On a field they meet the partisans and join them, having to change names in the process. The story culminates in the final battle with the Fascists, where former friends slay each other. The news of liberation are received in pouring rain. There are several dimensions in this historical epic: it is a study of society in extreme transformation; strangers become bedfellows, friends become mortal enemies. History blends with legends from the Classical Age as all is seen through the memory of a six year old girl who now tells a bedtime story to her own little daughter. The famous image of the Fascist impaled by a dozen spears is a fantasy of the little girl.

Yhden miehen sota traileri

One Man's War trailer. FI 1973. PC: Filminor. D: Risto Jarva. 3'. A brilliant 35mm print. Viewed at Orion, Helsinki, 25 May 2005. Trailer to the film of the quixotic enterprise of Erik Suomies and his earth mover on the construction sites of Finland.

Finlandia Katsaus 680 / [Finlandia Journal 680]

Finlandia Katsaus 680. The coffin of jääkäri Unto-Pekka Matikainen, who died in the service of the United Nations Peacekeeping Force in Cyprus (UNFICYP), is conveyed via air from Cyprus to Finland. My screenshot from Elonet: Finlandia Katsaus 680.

 

Finlandia Journal 680. FI 1964. 1. Betacam, alas. Viewed at Orion, Helsinki, 25 May 2005. The coffin of Unto-Pekka Matikainen, the first Finn to die in the line of duty in the United Nations peace corps.

Finlandia Katsaus / Finlandia Journal 678 (1964)

Finlandia Katsaus / Finlandia Journal 678 (FI 1964). The first group of soldiers of the Finnish UN battalion leaving for Cyprus on a Hercules transport aeroplane of the U.S. Air Force at the end of April 1964. Old porcelain exhibited at Kunsthalle Helsinki. Flea market at the Ateneum Art Museum. Exhibition of the Work Efficiency Institute at the Exhibition Hall in Helsinki. Annual exhibition of the Finnish Association of Camera Clubs. Päijänne motorcycle race. Exploding bananas: acetylene gas explosion in a banana ripening room in Helsinki.

Finlandia Journal 678. FI 1964. 1'. Betacam, alas. Viewed at Orion, Helsinki, 25 May 2005. The Finnish UN Battalion arrives in Cyprus on a Hercules plane.

Tulilahden murhenäytelmä / The Tragedy of Tulilahti

Tulilahden murhenäytelmä / The Tragedy of Tulilahti (FI 1959). A Suomen Filmiteollisuus newsreel also available at Yle Areena. The visual quality of the 35 mm print is superior to this photograph.

FI 1959. PC: Suomen Filmiteollisuus. SC: Arno Carlstedt, Niilo Ihamäki. DP: Olavi Tuomi, Veikko Mård. Narrator: Ihamäki. 11'. A fine 35 mm print. Viewed at Orion, Helsinki, 25 May 2005. The gruesome double murder of two girls from Jyväskylä in Tulilahti in August 1959 was never solved. The meticulous investigation processes are documented here as is the funeral which was an event for national mourning. There is a detailed content protocol of the newsreel at Elonet.

Finlandia-katsaus 498

Finlandia-katsaus 498 (FI 1961). An American airplane has crashed in the center of Munich, killing 50. My screenshot from / see movie at: Elonet: Finlandia-katsaus 498.

[Finlandia Journal 498]. FI 1961. PC: Suomi-Filmi. 3'. Betacam, alas. Viewed at Orion, Helsinki, 25 May 2005. The first big aviation disaster in Finland on 3 January 1961 in Koivulahti with 25 casualties.

...

Valmistumisvuosi  1961

Tuotanto  Suomi-Filmi Oy 

Maa  Suomi

Laji  katsaus

Kesto  7 min

Genre  ajankohtaisdokumentti

Nukkenäyttelyssä Kansallismuseossa mm. vanhoja saksalaisia nukkeja ja nukkekoteja, vanhin suomalainen nukke on 1400-luvulta. Uusi lepo armeijassa, sotilaat näyttävät miten lepo tehdään katselmuksessa uusien ohjeiden mukaan. Pienoisrautatienäyttely Stockmannilla. Presidentti Kennedy hakee vaimonsa Jacquelinen ja heidän vastasyntyneen vauvansa sairaalasta. Jätkäsaaren suurta satamalaituria rakennetaan. Münchenin lento-onnettomuus, 50 kuoli amerikkalaisen koneen pudottua raitiovaunun päälle. Koivulahden lento-onnettomuus, tässä Suomen ilmailun ensimmäisessä suuronnettomuudessa kuoli 25 ihmistä.

Esiintyjät

John Kennedy 

Jacqueline Kennedy 

Tekijät

Olavi Puusaari käsikirjoitus

Väinö Kolhonen kuvaus

Reijo Lås kuvaus

Eero Sinikannel leikkaus

Olavi Puusaari selostus

Tuotantotiedot

Tuotanto  Suomi-Filmi Oy Tuottaja

Kuvauspaikat

Ulkokuvat

Helsinki, Jätkäsaari. Washington. Saksa, München. Koivulahti.

Sisäkuvat

Helsinki, Kansallismuseo.

Sisältöseloste

Helsinki, vanhoja saksalaisia, ranskalaisia ja suomalaisia nukkeja ja nukkekodin kalusteita näyttelyssä Kansallismuseossa, näyttelyn nimi on Isoäidin nukke ja vaarin puuhevonen. Nukkekodin sisustuksia, huonekaluja, vaatteita, astioita. Vanhin suomalainen nukke on 1400-luvulta, vain savesta tehty pää on säilynyt. Tanssivat nuket. Nukke istuu katetussa pöydässä, jossa on ruokaa. Norsunluusta sorvattuja leikkikaluja, peilipöytä, cembalo, rukki. Sotilaat näyttävät miten katselmuksessa nykyään viedään kivääri ryhdikkäästi vartalon eteen eikä olalle. Uusi lepo: vasenta jalkaa ei viedä etuviistoon vaan otetaan kevyt haara-asento. Helsinki, juuri perustetun Junakerhon avajais- ja esittelytilaisuus Stockmannilla, pojat katsovat pienoisrautatietä. VR:n pääjohtaja Aalto pitää puheen. Pojat, pukumiehet ja nainen tutustuvat näyttelyyn, jossa pienoisrautateiden lisäksi Rautatiemuseon esineistöä. Washington, presidentti John F. Kennedy työntää vaimoaan Jacquelinea pyörätuolissa sairaalan käytävällä, sairaanhoitaja kantaa vauvaa. Lastenhoitaja kantaa vauvan autoon. Presidenttipari menee autoon. Helsinki, Jätkäsaaressa rakennetaan suurta satamalaituria, johon myöhemmin tulee satamarata. Selostaja kertoo New Yorkissa äskettäin tapahtuneesta ilmailuhistorian pahimmasta lento-onnettomuudesta, jossa kaksi matkustakonetta törmäsi toisiinsa. Münchenin keskustassa raivataan suuren lento-onnettomuuden jälkiä, amerikkalainen kone syöksyi keskustaan pudoten raitiovaunun päälle, 50 kuoli. Lehtiotsikko 25 kuoli matkustajakone putosi Vaasassa. Helsinki, ihmiset lukevat näyteikkunassa olevia Uusi Suomi -lehden Päivän uutisia. Lehtiä ostetaan, väentungosta Mannerheimintien jalkakäytävällä. Vaasa, Koivulahdella noin 15 kilometrin päässä Vaasan lentokentästä 3.1.1961 maahan syöksyeen Aeron DC-3 -koneen jäännökset metsässä. Jäljet pellolla. Konetta tutkitaan. Suruliputusta Helsingissä, Pohjoisesplanadi, Mannerheimintie, Sokos, Postitalo, Eduskuntatalo.

Musiikki

"Pinocchio March" (säv. Julius Steffaro)

"Dreamy River" (Eric Sepp)

"Lazy Rhythm" (O. Armstrong)

"High Treason" (Howitt Hale)

"Hurly Burly" (John Bath)

"Progress" (Kenneth Essex)

"By Cart" (säv. Julien Porret)

VET

10619

05.01.1961

35 mm

Veroluokka  VA 3

Ikäraja  S

Tarkastamolaji

5 Dokumentti

Tekniset tiedot

mv

ääni

1,37:1

7 min

Kuurilan junaonnettomuus

Photo not from the newsreel. An aerial photograph of the Kuurila train disaster on 15 March 1957. Source: http://www.jukkajoutsi.com/aihe21.jpg . From: Wikipedia: Kuurilan junaturma. Public domain.

The Kuurila Train Disaster. FI 1957. PC: Suomi-Filmi. 2'. A beautiful 35 mm print. Viewed at Orion, Helsinki, 25 May 2005. The worst after-war train disaster in Finland on 15 March 1957 with 26 left dead and 48 injured. The newsreel was ready for screening the next day.

Sinä olet Punainen Risti

You Are the Red Cross. FI 1957. PC: Suomi-Filmi. D: Harry Lewing. SC: Gunnar Rosén. 11'. A good 35mm print. Viewed at Orion, Helsinki, 25 May 2005. The 80th anniversary of the Finnish Red Cross is an ambitious and fascinating chronicle covering all aspects of the organization's activity, currently also helping Hungarian refugees in Austria.

Risto Rytin viimeinen matka

The Last Journey of Risto Ryti. FI 1956. P: Olle Åkerblom. DP: Åkerblom, Antero Rautio. Narrator: Martti Silvennoinen. A 35mm print with good definition. Viewed at Orion, Helsinki, 25 May 2005. The burial of the wartime President of Finland (1940-1944) was a major national event.

Finlandia Katsaus 290

Finlandia Katsaus 290. FI 1956. PC: Suomi-Filmi. DP: Niilo Heino. Narrator: Hugo Ahlberg. 8'. A 35mm print with good definition. Viewed at Orion, Helsinki, 25 May 2005. The 1956 general strike in Finland: many exciting views and situations, including violent long shots of the "gasoline war" where the mounted police rides into a crowd of people.

Finlandia-katsaus 389

Finlandia Journal 389 (FI 1958). Traffic stops in the Helsinki city centre for the funeral procession of police officer Kauko Kautto killed in the line of duty while trying to capture a criminal. My screenshot / view movie at Elonet: Finlandia-katsaus 389.

[Finlandia Journal 389]. FI 1958. PC: Suomi-Filmi. D: Kari Uusitalo. 2'. Betacam, alas. Viewed at Orion, Helsinki, 25 May 2005. The newsreel on the murder of the policeman Kautto with interesting footage on the extensive searches.

Finlandia Katsaus 252

Finlandia-katsaus 252 (FI 1954). The funeral of the nine children who died in the fire of the Kangasala kindergarten. My screenshot from Elonet.

Finlandia Journal 252. FI 1954. PC: Suomi-Filmi. 2 min. Betacam, alas. Viewed at Orion, Helsinki, 25 May 2005. The fire of the Kangasala kindergarten claimed nine casualties of children under seven.

Finlandia-katsaus 220

Finlandia-katsaus 220 (FI 1953). Isojoki, October 1953. After a long and difficult search, the remains of Kyllikki Saari were found hidden in a bog. My screenshot from / view newsreel at Elonet: Finlandia-katsaus 220.

Finlandia-katsaus 220 (FI 1953). Isojoki, October 1953. Life goes on at the homestead of Kyllikki Saari. My screenshot from / view newsreel at Elonet: Finlandia-katsaus 220.

Finlandia-katsaus 220 (FI 1953). Isojoki, October 1953. Kyllikki Saari's room, now a memorial. My screenshot from / view newsreel at Elonet: Finlandia-katsaus 220.

Finlandia-katsaus 220 (FI 1953). Isojoki, 25 October 1953. Kyllikki Saari's burial at the family grave at Isojoki Church. My screenshot from / view newsreel at Elonet: Finlandia-katsaus 220.

[Finlandia Journal 220]. FI 1953. PC: Suomi-Filmi. Narrator: Yrjö Haapanen. Soundtrack includes "Ombra mai fu" (1738, Largo from Serse) by G. F. Händel and "Narva March" (1700, played at the Battle of Narva during the Great Northern War as King Charles XII advanced towards the city of Narva). 9'. A 35 mm print with good definition. Viewed at Orion, Helsinki, 25 May 2005. A dignified and memorable newsreel on the most notorious homicide in the history of Finland, the murder of Kyllikki Saari (1935–1953) on 17 May 1953. Her remains were found hidden in a bog on 11 Oct 1953. The murder shook the nation and remains unresolved. The funeral service at the Isojoki Church was attended by 25.000 visitors.

Haikara ei sinua tuonut / The Stork Didn't Bring You

The American book cover of: Lois Pemberton: The Stork Didn't Bring You: Sex Education for Teenagers (1948). In 1952, Veikko Laihanen and Ralf Rubin made a promotion film of its Finnish edition.

FI 1952. PC: Rubin & Co. D: Ralf Rubin. 1'. Betacam, alas. Viewed at Orion, Helsinki, 25 May 2005. The author Jussi Talvi and the film producer Veikko Laihanen promote the Finnish edition of Lois Pemberton's book of sex education for the young.

Lipeälapset / [Lye Children]

Matti Kassila: Lipeälapset / [Lye Children] (FI 1949). Photo from Yle Areena. View Lipeälapset on Yle Areena.

FI 1949. PC: Suomen Filmiteollisuus. D: Matti Kassila. DP: Sulo Tammilehto. 11'. A vintage 35 mm nitrate print with beautiful definition. Viewed at Orion, Helsinki, 25 May 2005. Kassila's first short. A powerful medical and public service film with live action scenes, actual medical footage, and animation. A memorable warning about the danger of sodium hydroxine (then often used in soap) especially for children. Also a fine example of nitrate's silver glow.

Finlandia Katsaus 111

Finlandia Katsaus 111 (FI 1949). "The Bloody Thursday" on 18 August, 1949, is one of the topics. After the government announced 30% wage cuts for Kemi Oy's lumber workers, they, together with lumberjacks, sawmill employees and dockers of the Port of Kemi, went on strike. The police was summoned. In the battle between the strikers and the police, two strikers died. My screenshot from Elonet.

Finlandia Journal 111. FI 1949. 1'. Betacam, alas. Viewed at Orion, Helsinki, 25 May 2005. The "Bloody Thursday" of Kemi between the strikers and the police led to the death of two workers.

Filmiseppo-Katsaus 24

Photo not from the movie. Workers strike against pay cuts in Kemi on Thursday, 18 Aug 1949. The last political action in Finland with human casualties.

Filmiseppo Journal 24. FI 1949. 2'. Betacam, alas. Viewed at Orion, Helsinki, 25 May 2005. Logs are filling the river: the strike in the northern city of Kemi gets dangerous.

... 

Elonet: Sisältöseloste 

"Sulkava, Suomen Partiopoikajärjestön Partio-Opisto, jossa koulutetaan partiojohtajia. Nuoret miehet kiipeilevät köysistä tehdyllä "apinasillalla", mukana englantilaisia partiolaisia. Lentopallon peluuta. Hollantilainen partiojohtaja soutaa. Leirin suomalaiset ja englantilaiset johtajat. Näkövammainen partiolainen opaskoirineen. Veljespiiri. Valtava määrä tukkeja on kasaantunut Kemijokeen Kemiyhtiön työläisten mentyä lakkoon. Kemi, katukuvaa, pyöräilijöitä. Työväentalo. Paljon väkeä ulkona. Mielenosoituskulkue, mukana lapsia, kylteissä lukee mm. Kemiyhtiö on otettava valtion haltuun! Kemin voimalaitostyömaa on keskeyttänyt lohen nousun Kemijokea ylös, siiankalastajat siirtävät kalastusyhdistyksen pyynnöstä kiinni saamansa lohet yksitellen säkissä yläjuoksulle. Siikaa kalastetaan haavilla. Ranska, kunniamerkkejä jaetaan sodassa ja vastarintaliikkeessä ansioituneille miehille ja naisille. Pariisi, säärien kauneuskilpailut kabareessa, silmät peittävään naamioon ja lyhyeen viittaan pukeutuneet kilpailijat esittäytyvät orkesterin soittaessa, mies arvostelee. Iloinen voittaja. Pukumies esittelee säärtään naisille maljoja juotaessa."

Finlandia Katsaus 77 / Finlandia Journal 77

Finlandia Katsaus 77 / Finlandia Journal 77 (FI 1945). Among the news items: the war responsibility trial at the House of Estates, Helsinki, 15 Nov 1945. In the middle: Risto Ryti, the 5th President of Finland. See the film on: Elonet: Finlandia Katsaus 77. My screenshot.

FI 1945. PC: Finlandia-Kuva. D: Holger Harrivirta. DP: Unto Kumpulainen. Certified at the film control on 17 Nov 1945. 2 min. Betacam, alas. Viewed at Orion, Helsinki, 25 May 2005. The war responsibility trials started in November 1945. On trial: Risto Ryti, Jukka Rangell, Edwin Linkomies, Henrik Ramsay, Antti Kukkonen, Tyko Reinikka, T. M. Kivimäki ja Väinö Tanner. Powerful images.

Finlandia Katsaus 57

Finlandia Journal 57. FI 1944. PC: Finlandia-Kuva. 1'. Betacam, alas. Viewed at Orion, Helsinki, 25 May 2005. The aftermath of the war is always a violent time in terms of post-war crime. The policeman Riistama has been murdered.

Porkkalan evakuointi / [The Evacuation of Porkkala]

Porkkalan evakuointi / [The Evacuation of Porkkala] (FI 1955 [1944]). PC: Oy Filmiseppo. DP: Reino Tenkanen. Narrator: Paavo Nurmi.

FI 1955 (1944). PC: Oy Filmiseppo. DP: Reino Tenkanen. Narrator: Paavo Nurmi.
    8 min
    A beautiful vintage 35 mm print.
    Viewed at Orion, Helsinki, 25 May 2005.

Finland was never occupied during or after WWII, but the USSR rented a small piece of land, the Porkkala Peninsula near Helsinki, for a naval base for 11 years. A powerful and fascinating film.

Suomalaislapsia Ruotsiin / Finnish Children to Sweden

Suomalaislapsia Ruotsiin / Finnish Children to Sweden (FI 1944). D: Holger Harrivirta. DP: Björn Soldan. Narrator: Veikko Itkonen. From: Children in Media: Suomalaislapsia Ruotsiin, 6 Sep 2022. Please do click on the photo montage to enlarge it.

FI 1944. PC: Finlandia-Kuva. D: Holger Harrivirta. DP: Björn Soldan. Narrator: Veikko Itkonen. 9'. A vintage 35 mm nitrate print with generally good definition. Viewed at Orion, Helsinki, 25 May 2005. An eloquent documentary on the great Swedish action to take care of Finnish children (70.000 altogether) during WWII. We follow a train journey of Karelian children via Haparanda to Stockholm, and a ship journey on the Ariadne from Vasa to Umeå. Highly moving. Personally touching for me, as my mother was one of "war children" for whom the experience was a happy one.

View Suomalaislapsia Ruotsiin / Finnish Children to Sweden on Elonet.

1918 Mies ja hänen omatuntonsa traileri

Toivo Särkkä: 1918 (FI 1957). Through the barbed wire, a daughter (Merja Linko) brings her father a piece of bread in secret.

1918 A Man and His Conscience trailer. FI 1957. PC: Suomen Filmiteollisuus. D: Toivo Särkkä. 3'. Betacam, alas. Viewed at Orion, Helsinki, 25 May 2005. Trailer of the first sound feature film which tackled the Finnish Civil War 1918.

Finlandia Katsaus 14

Finlandia-katsaus 14 / Finlandia Journal 14 (FI 1943). PC: Finlandia-kuva. Opening item: burial of Finnish victims of Soviet partisans. My screenshot from Tenho.

Finlandia Journal 14. FI 1943. PC: Finlandia-Kuva. 1'. Betacam, alas. Viewed at Orion, Helsinki, 25 May 2005. Burial of Finnish victims of Soviet partisans.

Partisaanien tuhotöitä selustassa 1943 / [Sabotage of the Soviet Partisans Behind the Lines 1943.]

FI 1943. PC: The Finnish Army. DP: Vilho Uomala. 3'. Betacam, alas. Viewed at Orion, Helsinki, 25 May 2005. Brutalities of Soviet partisans photographed in the Viianki village in Suomussalmi 7 July 1943 were never shown to the public at the time.

Suomi-Filmin uutiskuvia 7/1939

Suomi-Filmi Journal 7/1939. 1'. Betacam, alas. Viewed at Orion, Helsinki, 25 May 2005. Visiting the studio of the sculptor Yrjö Liipola at work on the memorial of the shipwreck of the Kuru, which sank in Näsijärvi in Tampere in 1929.

Järkyttävä junaonnettomuus Helsingin lähellä 13.X.1936

Photo not from the movie. The train disaster by Linnunlaulu, Helsinki, 13 Oct 1936. Photo: Wikimedia Commons.

A Terrible Train Disaster Near Helsinki 13 October 1936. PC+D+DP: Heikki Aho, Björn Soldan. 3'. Betacam, alas. Viewed at Orion, Helsinki, 25 May 2005. The quickly produced newsreel on a train wreck in Pasila was ready to be screened the day after the fact.

Torpedovene S2:n uppoaminen 1925

The Sinking of Torpedo Boat S2 in 1925. PC: Suomi-Filmi. 3' at overspeed. Betacam, alas. Viewed at Orion, Helsinki, 25 May, 2005. Compiled at SEA from unassembled rushes in February 2005. The Finnish torpedo boat sank in heavy seas in the Baltic Sea near Pori, and 53 were killed.

Westkustenin haaksirikko Vaasan edustalla 1913 / The Westkusten Shipwreck in front of Vaasa 1913

E. P.: Westkustenin haaksirikko Vaasan edustalla 1913 / The Westkusten Shipwreck in front of Vaasa 1913 (FI 1913). My screenshot from: / view movie on: Elonet: Westkustenin haaksirikko Vaasan edustalla.

E. P.: Westkustenin haaksirikko Vaasan edustalla 1913 / The Westkusten Shipwreck in front of Vaasa 1913 (FI 1913). My screenshot from: / view movie on: Elonet: Westkustenin haaksirikko Vaasan edustalla.

E. P.: Westkustenin haaksirikko Vaasan edustalla 1913 / The Westkusten Shipwreck in front of Vaasa 1913 (FI 1913). My screenshot from: / view movie on: Elonet: Westkustenin haaksirikko Vaasan edustalla.

Ångaren Westkustens undergång i Wasa skärgård / Höyrylaiva Westkustenin haaksirikko Waasan saaristossa (bilingual title on print)

    FI 1913. Cinematographer: E. P. Featuring: the merchant Henriksson (the only survivor). 3 min. Swedish / Finnish intertitles. Betacam, alas. Viewed at Finnish Film Archive, Orion, Helsinki, 25 May, 2005. The oldest surviving Finnish "catastrophe movie". Merchant Henriksson stands in front of a house. Corpses are brought to land on the steamer Saturnus and taken to a cart with stretchers.

Finlandia-Katsaus 684

Finlandia Katsaus 684 (FI 1964) PC: Suomi-Filmi. The first item: funeral and memorial of F. E. Sillanpää. My screenshot from Elonet.

Finlandia Journal 684. FI 1964. 4' Betacam, alas. Viewed at Orion, Helsinki, May 25, 2005. The funeral of the writer F. E. Sillanpää was a major national event.

Suomi-Filmin Uutiskuvia 5/1939

Suomi-Filmin Uutiskuvia 5/1939). My screenshot from Elonet.

Suomi-Filmi News Journal 5/1939. 2'. Betacam, alas. Viewed at Orion, Helsinki, 25 May 2005. F. E. Sillanpää has received the Nobel Prize for literature.

See my previous blog note Suomi-Filmin Uutiskuvia 5/1939 at Tampere Film Festival.

TREASURES FROM THE ARCHIVE 2005: FINNISH TRAGEDIES

Short films, newsreels and trailers from Finland, 1913-1973. Compiled by Lauri Tykkyläinen and Raimo Silius for Tampere Film Festival 2005. Total duration of the show 119' plus 7' extras. Viewed at Orion, Helsinki, 25 May 2005. A powerful compilation covering major tragic Finnish experiences. ****