THE UNKNOWN ERNST LUBITSCH (2008 Helsinki, six titles curated by Stefan Drössler)

Ernst Lubitsch: Die Flamme / Montmartre / The Flame (DE 1922) with Alfred Abel (Gaston) and Pola Negri (Yvette).

Curator: Stefan Drössler. Viewed at Cinema Orion, Helsinki, 24 Feb 2008. E-subtitles AA.
Der Blusenkönig (Ernst Lubitsch, DE 1917), fragment of /18 fps/ 11 min, his comedy as Sally Katz, the shirt king and charmer of women.
[Lubitsch in Germany and Hollywood], video presentation by Stefan Drössler
Die Flamme (Liekki / Montmartre, Ernst Lubitsch, DE 1922, premiere 1923), starring Pola Negri, Alfred Abel, Hermann Thimig, Digibeta reconstruction by Stefan Drössler, 44 min
[Test Footage for Faust], US 1923, P: Mary Pickford, D: Ernst Lubitsch, tests for Mephisto, 12 min
The Patriot Trailer, US 1928, dvd, 3 min
The Patriot: the Portuguese fragment, 7 min
Die Flamme was the highlight, for the first time since decades this film makes sense in this fine reconstruction, the previously existing 20 min fragment did not work.

...

PROGRAM NOTE 1998, 2008 EDITED BY ANTTI ALANEN

SUOMEN ELOKUVA-ARKISTO

finlands filmarkiv

Die Flamme

Liekki / Kokotten från Caféet Flora / US: Montmartre

 

Saksa, valmistusvuosi 1922, ensiesitys 1923. Tuotantoyhtiöt: Ernts Lubitsch-Film GmbH, Berliini. Tuottaja: Paul Davidson. Ohjaus: Ernst Lubitsch. Käsikirjoitus: Hanns Kräly – Hans Müllerin (= Hans Lotharin) näytelmästä. Kuvaus: Theodor Sparkuhl, Alfred Hansen. Lavastus: Ernst Stern, Kurt Richter. Puvut: Ali Hubert. Pääosissa: Pola Negri (Yvette), Hilde Wörner (Louise), Alfred Abel (Raoul, muusikko), Hermann Thimig (André, säveltäjä), Frida Richard (Madame Vasal), Jacob Tiedtke (Borell), Max Albert (journalisti), Ferdinand von Alten (maailmanmies), Jenny Marba (Andrén äiti). Ensiesitys: tammikuun 1923 lopussa Wienissä; 11.9.1923 Ufa-Palast am Zoo, Berliini. Helsingin ensiesitys: 2.4.1923 Punainen Mylly, maahantuoja: Royal – tarkastusnumero 12085 – K16 – alkuperäispituus (Suomessa 2350 m): 2555 m /18 fps/ 123 min

    Elokuva on säilynyt vain katkelmana.

    1988: Deutsches Institut für Filmkunde ja Münchner Filmmuseum 418 m /18 fps/ 20 min 

    2008: rekonstruktio kaikesta säilyneestä aineistosta, Münchner Filmmuseum / Stefan Drössler, Digibeta, 44 min

    (Lubitschin 37. elokuva) 

Kesäkuussa 1922 Lubitsch palasi USA:n matkaltaan Berliiniin, ja uusi elokuva Pola Negrin kanssa oli jo käynnissä. "Vastapainoksi suurille historiallisille freskoille", hän sanoi, "tunnen välttämättömäksi tehdä Kammerspiel-elokuvan". Sellainen elokuva oli luonteeltaan pienimuotoista ja intiimiä - valkokankaan vastine kamarimusiikille. Elokuva oli Liekki, une comédie de moeurs, aiheenaan demimondaine, joka ei voi sopeutua porvarilliseen elämään.

   Tämä Degasin ja fin-de-sièclen Pariisiin, Montparnasselle, sijouttuva elokuva kertoo kokotista, joka kohtaa säveltäjän, rakastuu aidosti ja menee hänen kanssaan naimisiin. Mutta hän menettää miehen, koska hän ei kaikista ponnisteluistaan ja kärsimyksistään huolimatta voi muuttua tämän elämän mielekkääksi osaksi, ja epätoivoissaan hän heittäytyy kotinsa ikkunasta kadulle. Kaasulyhtyjen valaiseman Pariiisin hengen herättivät hienosti eloon Ernst Sternin impressionismia myötäilevät lavasteet; Negrin osasuorituksessa oli nuorekasta intoa ja tyttömäistä viehätystä vaikka hänen esittämänsä hahmo olikin bordellin pensionnaire (tämä ei ollut mikään Hollywoodin tahmainen hutsu), ja Lubitschin ohjaustyö oli niillä helmenkaltaisilla oivalluksilla kirjailtua, jotka tekivät tämän hänen tyylinsä ominaispiirteen maailmankuuluksi. Siegfried Kracauer muistaa yhden niistä, sen "jossa kokotti valmisteli bordellihuonettaan säveltäjän vierailua varten muuttamalla sisustusta niin, että huone näytti äkkiä yhtä kunnialliselta kuin miksi säveltäjä naista itseään uskoi". Ja minä muistan toisen, jossa miehen kaveri kutsuu häntä juhlimaan kaupungille, ja Negri pyytää, ettei tämä lähtisi. Kyyninen ystävä tönäisee miehen jalkaa vihjaten, ettei tämän tarvitse kiinnittää naiseen mitään huomiota, mutta tunteettoman vihjeen huomannut vaimo kumartuu ja pyyhkii miehensä kengästä "likaisen kohdan" pois. Tällaisista hienoista miniatyyreistä oli tämän synkän tarinan kudos valmistettu. Tämä oli Negrin ja Lubitschin viimeinen yhteinen elokuva Saksassa.

– Herman G. Weinberg: The Lubitsch Touch, 1968, 1977

Siegfried Kracauer tarkastelee Liekkiä teoksensa Caligarista Hitleriin luvussa "Kapinasta alistumiseen". Puheenaiheena on "kadun kutsu": päähenkilö riistäytyy sovinnaisesta ympäristöstä löytääkseen "elämän", mutta yhteiskunnan konventiot osoittautuvat kapinallista voimakkaammiksi: "Vuonna 1922 Lubitsch tarttui teemaan. Hän kehitteli sitä elokuvassa Liekki, joka sijoittuu viime vuosisadan Pariisiin ja kertoo naiivin nuoren säveltäjän ja puhdasmielisen kokotin rakkaustarinan. Säveltäjä jättää ankaran äitinsä kokotin vuoksi, mutta koska hän ei pysty karistamaan porvarillisia estojaan, hänen uusi elämänsä muuttuu piinalliseksi seikkailuksi, ja katuvana hän palaa takaisin äitinsä huomaan. Alkuperäinen versio päättyy siihen, että kokotti heittäytyy ikkunasta sanoen: 'Katu kutsui minua'. Muuan aito 'Lubitsch-kosketus' oli kohtaus, jossa kokotti valmisteli bordellihuonettaan säveltäjän vierailua varten muuttamalla sisustusta niin, että huone näytti äkkiä yhtä kunnialliselta kuin miksi säveltäjä naista itseään uskoi."

– Siegfried Kracauer: Caligarista Hitleriin (1947) AA 1988 

THE MAGICAL LANDSCAPE (Exhibition at Meilahti Art Museum)

THE MAGICAL LANDSCAPE - Works from the State Tretyakov Gallery 20.2. - 1.6.2008. Viewed on 24 Feb 2008. From the official presentation:
"The Magical Landscape presents work by 55 artists from the Golden Age of Russian landscape painting. The works cover a period from the middle of the 19th century to the start of the 20th, from romanticism to the aftermath of realism. The paintings in the exhibition are divided into nine thematic groups: The Forest, The Sea, Mountains, The Sky, Night Scenes, The Four Seasons, Man and Nature, Roads and Townscapes.
Landscape rose to prominence as a subject in Russian painting in the beginning of 19th century. Landscape paintings were not merely depictions of the forests, seas or mountains of Mother Russia, however; they were also vehicles with which the artists explored the identity of the Russian people.
Many of the artists of the period belonged to the group of artists called The Wanderers, or Peredvizhniki, whose aim was to create realistic pictures of Russian nature. The face and beauty of Mother Russia were seen even in the most trivial things. The unity of spiritual life and nature was important for the landscape painters.
The State Tretyakov Gallery was founded by the Moscow merchant (1832-1898) Pavel Tretyakov. When Tretyakov began collecting art, he also decided to establish a museum of Russian art for the public. In particular, Tretyakov bought many works from the exhibitions of the Peredvizhniki and supported artists who wanted to promote social development in a more democratic direction."
Among the artists exhibited: Julius Klever, Konstantin Korovin, Pyotr Korovin, Olga Lagoda-Shishkina, Alexey Bogoliubov, Mikhail Clodt von Jürgensburg, Ivan Shishkin, Arkhip Kuindzhi, Isaac Levitan, Fyodor Vasilyev, Vasily Polenov, Joseph Krachovsky, Apollinary Vasnetsov, Arkady Rylov, Rufin Sudkovsky, Vasily Vereshchagin, Vladimir Shervud, Maxim Vorobyov, Konstantin Yuon, Ivan Aivazovsky, Nikolai Roerich, Konstantin Kryzhitsky, Anton Ivanov, Arseny Meshchersky, Alexey Stepanov, Pavel Kovalevsky, Nikolai Dubovskoy, Igor Grabar, Boris Kostudiyev, Alexey Savrasov, Mikhail Nesterov, Ilya Repin, Vasily Vereshchagin, Abram Arkhipov, Grigory Myasoedov, Alexander Kiselyov, Valerian Kamenev, Vasily Perov, Pyotr Sukhodolsky, Ivan Khrutsky, Vasily Perepletchikov, Vladimir Orlovsky, Konstantin Somov, Stanislav Zhukovsky, Konstantin Pervukhin, Vladimir Makovsky, Nikolay Pimonenko, Illarion Pryanishnikov, Alexander Beggrov, Vasily Vereshchagin, Maria Fyodorova, Andrei Rakovich, Karl Bodri, Nikolay Kuznetsov
Some of the best of Russian figurative art of the 19th century, my favourite: Isaac Levitan: Above Eternal Rest (1893)
http://www.taidemuseo.fi/english/meilahti/programme/tretyakov.html

Arn - tempelriddaren

Arn: the Knight Templar / Arn - temppeliritari. SE / DK / FI / DE / GB (c) 2007. P: Waldemar Bergendahl. D: Peter Flinth. SC: Hans Gunnarsson - based on the novel Vägen till Jerusalem / Tie Jerusalemiin (1998) by Jan Guillou. DP: Eric Kress - shot on 35mm - digital intermediate - film print 35mm 1:2,35. Starring Joakim Nätterqvist (Arn Magnusson), Sofia Helin (Cecilia Algotsdotter), Bibi Andersson (Mother Rikissa). Mainly in Swedish, but also in Arabic, English, French, and Latin. 141 min. Released by FS Film with Finnish subtitles. Viewed at Tennispalatsi 3, 23 Feb 2008. Reportedly the most expensive film ever produced in the Nordic countries (but how does one compare the four-part Karl XII?). No Seventh Seal, it does not even begin to approach the profundity of Ingmar Bergman's knight templar saga. But it is an interesting epic film that covers both the bloody power struggles in Sweden and the Crusades in the Holy Land. Arn gets even to meet and conquer Saladin, although it is clear that the bigger victory will be the Muslims'. The characters are not compelling, they feel like modern people in costume. The visual quality of the Swedish nature scenes suffers from the lossy digital intermediate.

There Will Be Blood

There Will Be Blood / There Will Be Blood. US (c) 2007. PC: Ghoulardi / Paramount Vantage / Miramax. P: Paul Thomas Anderson, JoAnne Sellar, Daniel Lupi. D+SC: Paul Thomas Anderson - based on the novel Oil! (1927) by Upton Sinclair. DP: Robert Elswit. PD: Jack Fisk. COST: Mark Bridges. M: Jonny Greenwood [Radiohead]. ED: Dylan Tichenor. Starring Daniel Day-Lewis (Daniel Plainview), Ciarán Hinds (Fletcher Hamilton). 158 min. Released in Finland by Buena Vista International Finland. Viewed at Maxim 2, Helsinki, 22 Feb 2008. Paul Thomas Anderson does not follow the multi-character concept of Boogie Nights and Magnolia, focusing instead on the rise of a single character, the manic oil prospector Daniel Plainview. The film connects with classics of American cinema such as Greed, The Treasure of the Sierra Madre, The Giant, and Chinatown. Itself already hailed as a modern classic, perhaps I viewed There Will Be Blood with too great expectations, finding Daniel Day-Lewis's two-note performance powerfully Hustonesque but not complex. Neither do I share Anderson's quasi-Fundamentalist "sin and deluge" world-view. I enjoyed the cinematography with its strong photochemical look. I prefer Boogie Nights and Magnolia to this.

Zhiqu wei hushan

Taking Tiger Mountain by Strategy. CN 1970. PC: Beijing Film Studio. D: Xie Tieli. 125'. A vintage print, reddening, with English subtitles. Viewed at Cinema Orion, Helsinki, 22 Feb 2008. Introduced by Prof. Chris Berry. I viewed the first reel and the final sequence only. This film belongs to one of the maddest genres, the filmed Revolutionary Model Opera of the Chinese Cultural Revolution era. Theoretically, an example of dead-end non-cinema, yet surprisingly electric and hyperactive, never giving a break. The opera performers are brilliant, and their virtuosity carries the film. To be compared with the cinema of Stalin's final years, when Soviet film production almost stopped. The years of human terror coincided with an age of cinema dearth.

The Marriage Circle

Avioliiton ilveilyä / Äktenskapsvirveln.
    US © 1923 Warner Bros., released 1924.
    P+D: Ernst Lubitsch. SC: Paul Bern – based on the play Nur ein Traum (1909) by Lothar Schmidt. DP: Charles J. Van Enger. AD: Svend Gade.
    C: Adolphe Menjou (Prof. Joseph Stock), Marie Prevost (Mizzi Stock), Monte Blue (Dr. Franz Braun), Florence Vidor (Charlotte Braun), Creighton Hale (Dr. Gustav Müller).
    Originally 2499 /22 fps/ 99 min. MoMA restored print /22 fps/ 94 min.
    Screened at Cinema Orion (Ernst Lubitsch), Helsinki, 21 Feb 2008.

This is the best print of this film, much better than the ones available before the MoMA restoration, although it is struck from a dupe negative which is not perfectly sharp. Revisiting this familiar film I enjoyed it more than ever, and the screening was rewarded by laughter from the audience, proving that the comic timing of Lubitsch remains effective. It is a comedy of manners, but beneath the surface there is the deep current of real feeling and concern about human relationships. The foundation work of the mature Lubitsch touch.

Rosita

Rosita / Rosita. US (c) 1923 Mary Pickford Company. D: Ernst Lubitsch. SC: Edward Knoblock - treatment by Norbert Falk, Hanns Kräly - based on the play Don César de Bazan (1844) by Philippe Francois Pinel Dumanoir and Adolphe Philippe Dennery. DP: Charles Rosher. AD: William Cameron Menzies, Svend Gade. COST: Mitchell Leisen. Starring: Mary Pickford (Rosita), Holbrook Blinn (the King), Irene Rich (the Queen), George Walsh (Don Diego). Originally 2682 m /20 fps/ 117 min. Surviving Russian print 2242 m /2o fps/ 98 min. A Digibeta presentation of the film with Russian intertitles, e-subtitles AA, Cinema Orion, Helsinki, 19 Feb 2008. I have seen this film maybe six times, and this was not the worst presentation, although in Digibeta. This magnificent production (cinematography by Rosher, art direction by Menzies, costumes by Leisen) would deserve the best possible restoration one day, based on all surviving material. No masterpiece, but a fascinating turning-point for both Pickford and Lubitsch. Pickford wanting to break out of her woman-as-girl formula, and Lubitsch making his big entrance in Hollywood. This is a continuation to the Dubarry-Boleyn-Pharaon cycle of Lubitsch, and his last such spectacle. It looks great, and in the Sevilla Carneval Lubitsch shows his talent in mounting lively crowd scenes (interesting to see the similarities here to his previous films). There are also the nice small touches such as the close-up of the imprisoned Rosita's hand touching secretly Diego's and the Queen's small pocket mirror turned into a spyglass. It is interesting to compare Mary Pickford with Pola Negri as Carmen and Bergkatze; Mary is good, but Pola would have been better. Mary is at her best in the end, after the fake execution of Don Diego, as she shocks the king with her intensity. Adult scenes include the lovers' night in prison and Rosita's attempted assassination of the King. Holbrook Blinn is no Jannings as the King, but Irene Rich is very good with her telling looks as the Queen.

BIGGER THAN LIFE (Exhibition at Ateneum)

Joseph Beuys: Das Schweigen (DE 1973). Fünf Filmspulen des gleichnamigen Films von Ingmar Bergman (1963), verzinkt. Spulen je 4 cm x 38 cm im DurchmesserAuflage: 50 + 10 H. C., „Beuys“, Nummerierung und Titel in Metallplaketten auf den Spulen eingeprägt; Titel der Spulen: 1 HUSTENANFALL – GLETSCHER+ 2 ZWERGE – ANIMALISIERUNG 3 VERGANGENHEIT – VEGETABILISIERUNG 4 PANZER – MECHANISIERUNG 5 Wir sind frei – GEYSIR+ Herausgeber: Edition René Block, Berlin, und Multiples, New York. Werkverzeichnis Nr. 80. Diese fünf Filmspulen enthalten eine komplette Original-Kinokopie der deutschen Fassung des Ingmar-Bergman-Films Das Schweigen von 1963. In einem Bad aus Zink und Kupfer hatte Beuys die mit Lack überzogenen Spulen in einer Galvanisierungsanstalt verzinken lassen und damit ihren Inhalt unter einer schimmernden Metallschicht versiegelt – gewissermaßen „zum Schweigen gebracht“. Auf jeder der Spulen ist eine kleine Metallplatte mit zwei Begriffen angebracht. Der erste bezieht sich auf die Filmhandlung, der zweite ist Beuys’ Antwort darauf. Im Aufeinanderstapeln der Spulen wird hier wieder der Batteriegedanke anschaulich, der sich in unterschiedlichen Formaten und Materialien durch Beuys’ Werk zieht. Er konzipierte solche Strukturen als Aggregate, die geistige Energie speichern und übertragen können. In seiner Form erinnert Das Schweigen an eine der ersten elektrischen Batterien, die Voltasche Säule, auf die sich Beuys bereits in seiner Aktion Vitex agnus castus 1972 in Neapel bezogen hatte. Sie wurde um 1800 von Alexander Volta entwickelt und bestand aus übereinander geschichteten Kupfer- und Zinkplättchen, mit deren Hilfe Strom erzeugt werden konnte. Dieselben Stoffe verwendete Beuys für die Ummantelung seines Multiples.3 Sie verwehren den Zugang zu den Bildern des Films, lassen durch ihre leitenden Fähigkeiten aber vermuten, dass dessen Inhalt auf andere, abstraktere Weise aufgenommen werden kann. --- From: Die Multiples von Joseph Beuys, aus der Sammlung der Pinakothek der Moderne, München. 

ELÄMÄÄ SUUREMPAA (Bigger than Life, Works from the Collections), Ateneum Art Museum, Finnish National Gallery, Helsinki, since 6 Dec 2007. Visited on 17 Feb 2008. A fascinating way to look at familiar masterpieces together with less known and unknown ones. From the official presentation: "The underlying theme of the new display is the role of an artist, seen from different points of view. The display is not chronological but divided into several themes, such as the artist at work, observing nature, the artist's inner world and the artist as a storyteller. The theme of the artist shaping national identity is related in particular to the 90th anniversary of Finland's independence." The most direct cinematic link is in Joseph Beuys: Das Schweigen (Ingmar Bergman). Themes: The artist's inspiration, The artist's inner world, Hugo Simberg, Helene Schjerfbeck, The woman as an artist, Focus on J.J. Tikkanen, The artist at home, The artist's self-portraits, Working, The artist as storyteller, Focus on Gunnar Berndtson, The artist as an observer of nature, The artist giving form to national identity, Mega Museum.

http://www.ateneum.fi/default.asp?docId=11990
http://www.ateneum.fi/default.asp?docId=15532

Le Renard et l'enfant

Tyttö ja kettu / Flickan och räven. FR (c) 2007 Bonne Pioche / France 3 Cinéma. P: Yves Darondeau, Christophe Lioud, Emmanuel Priou. D: Luc Jacquet. SC: Luc Jacquet, Eric Rognard. DP: Eric Dumage, Gérard Simon - 35mm - digital intermediate - print 35mm 1:2,35. Starring: Bertille Noël-Bruneau (the girl). Released by Cinema Mondo, Finnish-spoken version supervised by Pekka Lehtosaari and narrated by Minttu Mustakallio. Viewed at Tennispalatsi 9, Helsinki, 16 Feb 2008. This is a beautiful tale about a young girl and her friendship with a wild she-fox during the four seasons of the year. The superior film based on this format is Arne Sucksdorff's Det stora äventyret (The Big Adventure), and in Finland, Raimo O. Niemi has directed The Boy and the Lynx and The Mystery of the Wolf. But the storyline is but a pretext to a wide variety of scenes about the wonders of nature, which in each case are different. Very nice, but I did not like the special digital animation scenes and the digital look of the forest.

Risto Räppääjä

Risto Rappare [SE] / [Risto the Rapper]. FI (c) 2008 Kinotar. EX: Lasse Saarinen. P: Risto Salomaa. D: Mari Rantasila. SC: Sinikka Nopola, Tiina Nopola - based on their RR books (nine, the film based mainly on the ones published in 2000 and 2001). Digital intermediate by Generator Post. AD: Minna Santakari. M: Iiro Rantala. Starring: Niilo Sipilä (Risto Räppääjä), Mimmi Lounela (Nelli Nuudelipää), Annu Valonen (Rauha Räppääjä), Ulla Tapaninen (Elvi Räppääjä), Martti Suosalo (Lennart Lindberg). 80 min. Released by Nordisk. Viewed at Kinopalatsi 1, Helsinki, 16 Feb 2oo8. This is an energetic children's film based on the drummer boy character created by the Nopola sisters. The director Mari Rantasila keeps the zany events moving at a good pace. I have liked her previous films Greippi (1999) and Pieniä eroja (2002) actually even more than this one, which is a bit marred by the over-the-top digital colour and the fact that all the grown-ups act in such an anti-grown-up way, almost forcing the children to act precocious. Anyway, it's fun, and a memorable contribution to the too meagre genre of the Finnish musical.
http://fi.wikipedia.org/wiki/Risto_R%C3%A4pp%C3%A4%C3%A4j%C3%A4

No Country for Old Men

Menetetty maa / No Country for Old Men. US (c) 2007 Miramax / Paramount. P: Ethan Coen, Joel Coen, Scott Rudin. D+SC+ED: Ethan Coen, Joel Coen - based on the novel by Cormac McCarthy (2005). DP: Roger Deakins - negative Kodak Vision2 Super35 - 2K digital intermediate by Efilm - print 35mm 1:2,35. M: Carter Burwell. LOC: Texas, New Mexico. Starring: Tommy Lee Jones (Ed Tom Bell), Javier Bardem (Anton Chigurh), Josh Brolin (Llewellyn Moss), Woody Harrelson (Carson Wells), Kelly Macdonald (Carla Jean Moss). 122 min. Released in Finland by Finnkino, Finnish / Swedish subtitles by Marko Hartama / Marko Hietikko. Viewed at Bristol, Helsinki, 15 Feb 2008. The Coen brothers back in form on their strongest terrain. Downbeat Texas story based on the Cormac McCarthy novel, which I have not read. The plot (about a bystander who happens at the site where a bloody showdown of druglords has taken place near the US/MX border) resembles on the surface that of a mainstream thriller, but the angle is completely different. This film belongs to the core of the Coen bros., along with Blood Simple. and Fargo. It's a post-western and a post-crime film, with cattle stun guns and transponders bringing odd touches to familiar situations. There is a conscience in this story, and it is represented by Tommy Lee Jones' character. The imagery is extremely bleak, and the digital intermediate look is appropriate to this valley of death.

Das Weib des Pharao

Faaraon vaimo / Faraos hustru. DE 1921. PC: Ernst Lubitsch-Film / EFA. P: Paul Davidson. D: Ernst Lubitsch. SC: Norbert Falk, Hanns Kräly. DP: Theodor Sparkuhl, Alfred Hansen. AD: Ernst Stern, Kurt Richter. COST: Ernst Stern, Ali Hubert, Ernö Metzner. Starring: Emil Jannings (Amenes the Pharaon of Egypt), Dagny Servaes (Theonis, a Greek slave girl), Paul Wegener (Samlak, king of Ethiopia), Lyda Salmonova (Makeda, his daughter), Albert Bassermann (Sothis, the king's building master) Harry Liedtke (Ramphis, his son). Originally 2976 m /16 fps/ 162 min. 2005 reconstructed version via 2K digital intermediate from Adoram, /16 fps/ 124 min. E-subtitles AA. Viewed at Cinema Orion, Helsinki, 13 Feb 2008. A colossal epic lost in its original form, painstakingly reconstructed via all available materials. The German Lubitsch ensemble together once again, working at full speed. Historically and psychologically unconvincing, yet a breathtakingly impressive Egyptian fantasy with top actors, designers, etc. Cinematography by Theodor Sparkuhl and Alfred Hansen is brilliant. Scenes with mothers and children on the Pharaoh's steps are as powerful as the Odessa steps in Battleship Potyomkin. Once again history is reduced to a consequence of private passions: humiliation over a girl, jealousy, unrequited love. This is an early (first?) example of the classic Emil Jannings performance: the tyrant at the height of his power perishes utterly. He descends into madness, is stripped of the external emblems of his might, falls into the gutter and dies. A magnificent reconstruction with a loss of visual quality via the digital intermediate.

Die Bergkatze

Vuorikissa / Bergkatten. DE 1921. PC: Union. D: Ernst Lubitsch. SC: Hanns Kräly, Lubitsch. DP: Theodor Sparkuhl. AD: Ernst Stern. Starring: Pola Negri (Rischka), Paul Heidemann (Ltn. Alexis), Victor Janson (commander of the fort), Hermann Thimig (Pepo). 1818 m /18 fps/ 88 min. Transit Film / FWMS restored (2000) print /18 fps/ 82 min. E-subtitles AA. Viewed at Cinema Orion, Helsinki, 12 Feb 2008. One of Lubitsch's most original and elaborate German comedies revisited. The winter inspires Lubitsch again, and he tries for once to play with Expressionism, not letting it inhibit him. The set design is lovely, also in Pola Negri's dream sequence with its band of snowmen. The anti-militaristic satire is pretty mild. Pola Negri is at her best here in a comic variation of her Carmen interpretation. Lubitsch has his fun with reversed sex roles: Pola Negri is the active and aggressive protagonist, to whom the males have to react. There are the formal marriages in the end, but no choice of possible pairings would be ideal. One spectator commented that Lubitsch in this film tries too hard and preferred his more relaxed comedies. The restored version is great but the visual quality of this screening print not so hot.

Kohlhiesels Töchter / Kohlhiesel's Daughters (1920)

Ernst Lubitsch: Kohlhiesels Töchter / Kohlhiesel's Daughters (DE 1920). Henny Porten in a double role as the twin sisters Gretel and Liesel. Emil Jannings as Peter Xaver. In Hollywood, Lubitsch was known as the master of sophisticated comedy. Before that, he indulged in unsophisticated comedy.

Kohlhieselin tyttäret / Krögarens döttrar. DE 1920. PC: Messter. D: Ernst Lubitsch. SC: Hanns Kräly, Lubitsch. DP: Theodor Sparkuhl. Starring: Henny Porten (Gretel and Liesel), Emil Jannings (Peter Xaver), Gustav von Wangeheim (Paul Seppl), Jacob Tiedtke (Mathias Kohlhiesel). 1129 m /19 fps/ 52 min. Print from Münchner Filmmuseum, /19 fps/ 61 min. E-subtitles AA. Viewed at Cinema Orion, Helsinki, 12 Feb 2008. This is one of Lubitsch's most relaxed films, simple fun roughly based on The Taming of the Shrew, with Henny Porten in a double role, both as the shrew and the lovely sister. Lubitsch clearly loved winter and the mountains. It is nice to see this after Anna Boleyn, with its co-stars, Jannings and Porten, in completely different roles. Here there is another lovely dancing sequence. As for the intertitles, there are two completely different versions of this film. I was familiar with the DIF print, but this Munich print is better.

PIXAR - 20 YEARS OF ANIMATION (Exhibition at Art Museum Tennis Palace)

PIXAR - 20 Years of Animation, Exhibition at Art Museum Tennis Palace, 30 Jan - 27 April 2008. Viewed on 10 Feb 2008. From the official presentation: Featuring more than 500 original works of art. It will take visitors behind the screen to reveal how Pixar’s beloved characters and fantastic worlds were created. The works include concept drawings, paintings, sculptures and installations that offer exciting audiovisual experiences. All of the Pixar artwork and digital media are on loan from the archives of Pixar Animation Studios. Pixar is one of the world’s leading animation studios. It was founded in California in 1986. Its first box office hit was Toy Story in 1995, followed by other feature films; A Bug’s Life, Toy Story 2, Finding Nemo, Monsters Inc., The Incredibles, Cars and the most recently, Ratatouille in 2007. Pixar - 20 Years of Animation will take you to the provenance of these stories. The exhibition will present the history of the studio and a peek into its future. It covers Pixar’s work from its earliest shorts to its newest feature film WALL-E, which will premiere in 2008. Included in the exhibition are also numerous video interviews introducing the audience to the Pixar artists and their work. Although Pixar’s films are computer animations, traditional media are still indispensable in the creative process. John Lasseter, who is one of the studio’s founding members and its Chief Creative Officer, emphasises the importance of personal creativity: “Technology doesn’t make the motion picture, people do. (...) The animator is someone who breathes life into a character, which is something the software and technology can’t give you.” The exhibition was originally produced by the Museum of Modern Art in New York City. Helsinki will be its first Nordic venue. Pixar: 20 Years of Animation exhibition is managed by Barbican Art Gallery. Barbican Art Galleries are provided by the City of London Corporation. - An impressive exhibition, well loved by children, many-sided. Although it is about the leading computer animation studio, most artworks are created by the traditional pencil, charcoal, crayon, pastel, watercolour, oil, sculpture, etc. The long preparation is handmade, the final product is created in the computer. http://www.taidemuseo.fi/english/tennispalatsi/programme/pixar.html

Se, jie

Lust, Caution / Lust, Caution. US / CN / TW / HK (c) 2007 Hai Sheng Film Production Company etc. P: William Kong, Ang Lee. D: Ang Lee. SC: James Schamus, Hui-Ling Wang - based on the story by Eileen Chang. DP: Rodrigo Prieto. Starring Tony Leung (Mr. Yee), Wei Tang ("Mrs. Mak", Wong Chia Chi), Joan Chen (Mrs. Yee). In Finland the long uncut version 157 min. Released by Sandrew, Finnish / Swedish subtitles by Arto Vartiainen / Ditte Kronström. Viewed at Maxim 1, Helsinki, 9 Feb 2008. A resistance story during the Japanese invasion of China in 1938-1942. Young students plan to assassinate the collaborationist leader, Mr. Yee, by planting a young woman as his mistress, "Mrs. Mak". An elaborate scheme of sex and violence develops. Having recently watched Lubitsch spectacles where the French Revolution and the English Reformation are observed from the viewpoint of the bedchamber I noticed in this film some affinities with them, as well as with Notorious and North by Northwest by Hitchcock. As a Western viewer I would have been interested to learn more about the terrible occupation and the brave resistance, too little known outside China. The sex scenes are powerful but isn't there some imbalance between the epic and the intimate? Anyway, it's another high profile and novel contribution from Ang Lee.

Charlie Wilson's War

Mike Nichols: Charlie Wilson's War (US/DE 2007), screenplay by Aaron Sorkin, based on the book by George Crile, starring Tom Hanks (Rep. Charlie Wilson), Amy Adams (Bonnie Bach), Julia Roberts (Joanne Herring) and Philip Seymour Hoffman (Gust Avrakotos).

Charlie Wilsonin sota / Charlie Wilsons krig.
   US / DE © 2007 Universal / MP Munich Pape. P: Gary Goetzman, Tom Hanks.
   D: Mike Nichols. SC: Aaron Sorkin – based on the book (2003) Charlie Wilson's War: The Extraordinary Story of the Largest Covert Operation in History (later titled Charlie Wilson's War: The Extraordinary Story of How the Wildest Man in Congress and a Rogue CIA Agent Changed the History of Our Times) by George Crile. DP: Stephen Goldblatt – shot on 35 mm Kodak Vision Super 35 – 2K digital intermediate by Efilm – print Kodak Vision 1:1,85.
   Starring: Tom Hanks (Rep. Charlie Wilson), Amy Adams (Bonnie Bach), Julia Roberts (Joanne Herring), Philip Seymour Hoffman (Gust Avrakotos).
   97 min.
   Released in Finland by Finnkino, Finnish / Swedish subtitles by Timo Porri / Saliven Gustavson.
   Viewed at Kinopalatsi 1, Helsinki, 9 Feb 2008.

An intelligent political satire based on the true story of US covert involvement in the Afghan war during the Soviet invasion. Having read Steve Coll's excellent book Ghost Wars I was familiar with the figures of Charlie Wilson and Gust Avrakotos; some other characters may be fictive. The strategic weight of Afghanistan for the U.S. has been crystallized in the expression "Operation Bear Trap", that is, the trap to kill the Soviet bear. The trap worked. There is a grim postscript, though. The war was won, the peace was not. Covertly armed by the US against the USSR, the frightful Mujaheddin started a new era in world history.

Dark Floors (2008)

Pete Riski: Dark Floors (FI 2008). Featuring the Finnish hard rock band Lordi from Rovaniemi, Lapland. Lineup: Mr. Lordi (songwriter, lead vocalist), Amen (guitar, background vocals), Kita (perc, background vocals), OX (bass, background vocals), Awa (keyboards, background vocals).

Dark Floors / Dark Floors. 

    FI © 2008 Solar Films. CO-PC: The Icelandic Film Company / Kisi Production. P: Markus Selin. 

    D: Pete Riski. SC: Pekka Lehtosaari – from a story by Mr. Lordi and Pete Riski. DP: Jean-Noël Mustonen – shot on Super 16 mm – digital intermediate by Generator Post – screening format 35 mm 1:2,35. AD+COST: Tiina Anttila. Make-up: Mari Vaalasranta, Jim Udenberg. M: Ville Riippa, performed by the Czech Film Orchestra. Original song during end credits: "Beast Loose In Paradise" by Lordi. S: Jyrki Rahkonen. 

    Lordi: Mr. Lordi (songwriter, lead vocalist), Amen (guitar, background vocals), Kita (perc, background vocals), OX (bass, background vocals), Awa (keyboards, background vocals). 

    Roles: Skye Bennett (Sarah), Noah Huntley (Ben), Dominique McElligott (Emily), Leon Herbert (Rick), William Hope (Jon), Ronald Pickup (Tobias), Philip Bretherton (Walter). 

    Original in English. 

    84 min

    Released by Nordisk with Finnish subtitles by Aretta Vähälä & Pekka Lehtosaari.

    Viewed at Tennispalatsi 6, Helsinki, 9 Feb 2008. 

IMDb synopsis: "A man emerges with his autistic daughter and three others from a hospital elevator to find themselves trapped in the building with devilish monsters."

A vehicle for the Finnish hard rock / heavy metal band Lordi, famous for its elaborate monster characters and ambitious music videos directed by its house director Pete Riski. 

"Wer reitet so spät durch Nacht und Wind / es ist der Vater mit seinem Kind", wrote Goethe in his poem "Der Erlkönig", a classic of German Romantic horror. The poem is the vision of a dying child whom its father is trying to save. 

Dark Floors is a modern and original version of the classic concept. The framing story is about an autistic girl stuck in a magnetic resonance imaging machine, and the film draws us to join her in her journey to the dark floors of death. During her voyage she meets the various Lordi characters. The concept is strong, and the result is serviceable with good music and sound design but there could be more build-up of tension, the characters remain flat, the actors play one note, and the digital intermediate look is not very exciting on the big screen. Worth seeing for fans of Lordi and horror films.
http://en.wikipedia.org/wiki/Lordi (much more thorough in the Finnish edition)

Anna Boleyn

Ernst Lubitsch: Anna Boleyn (1920) with Emil Jannings (Henry VIII), Henny Porten (Anne Boleyn) and Ludwig Hartau (Duke of Norfolk).

Anna Boleyn / Anna Boleyn.
    DE 1920. PC: Messter-Film / Union. D: Ernst Lubitsch. SC: Norbert Falk, Hanns Kräly. DP: Theodor Sparkuhl. Technical Director: Kurt Waschneck. AD: Kurt Richter. COST: Ali Hubert. Starring: Emil Jannings (Henry VIII), Henny Porten (Anne Boleyn), Hedwig Pauli (Queen Catherine), Hilde Müller (Princess Mary), Ludwig Hartau (Duke of Norfolk), Paul Hartmann (Henry Norris), Aud Egede Nissen (Johanna Seymour), Ferdinand von Alten (Marc Smeton), Adolf Klein (Cardinal Wolsey), Paul Biensfeld (the court jester).
    Originally 2793 m /19 fps/ 128 min.
    Restored Transit Film / FWMS version based on the tinted and toned print from Milan, /19 fps/ 124 min.
    E-subtitles by AA.
    Viewed at Cinema Orion, Helsinki, 7 Feb 2008.

This is the greatest Lubitsch spectacle, a strong historical tragedy. The tinting and toning is subtle, the print is superb, the best I have seen of this film, could hardly be better.

As always with the Lubitsch spectacles, this is a woman's story. Certainly it is no great historical drama, the epochal events (the break with Rome, the English Reformation, the creation of the Church of England, the dissolution of the monasteries, the union of England and Wales, the creation of many national buildings, the story of Thomas More) are ignored or reduced to a background of the private story, Henry the Renaissance Man is reduced to a lecher, and Anne Boleyn elevated to a saint.

Jannings does look the part, very much like the Holbein painting. His brutality as the most fearsome English absolute monarch feels close to the reality. This is another German tyrant film from the Weimar era, and one of the best. The final sequences with confessions elicited in torture chambers are chilling, and the abrupt ending is very effective. Henny Porten at her best, Theodor Sparkuhl at his best.

Among the related films I was thinking about A Man for All Seasons (Robert Shaw as Henry VIII, Vanessa Redgrave as Anne Boleyn, Paul Scofield as Thomas More, Orson Welles as Cardinal Wolsey) and The Private Lives of Elizabeth and Essex (Bette Davis as Elizabeth I, the daughter of Anne Boleyn, her birth depicted so movingly by Lubitsch).

Die Fälscher / The Counterfeiters

Stefan Ruzowitzky: Die Fälscher / The Counterfeiters (AT/DE 2007). Karl Markovics as Salomon Sorowitsch.

Väärentäjä / Förfalskaren. 

    AT / DE © 2007 Aichholzer Filmproduktion / Magnolia Filmproduktion. P: Josef Aichholzer, Nina Bohlmann, Babette Schröder.

    D+SC: Stefan Ruzowitzky - based on the book Des Teufels Werkstatt (1951) by Adolf Burger. In cooperation with Adolf Burger. DP: Benedict Neuenfels – shot in Super 16 mm – 35 mm blowup – 1:1,85. 

    Starring: Karl Markovics (Salomon Sorowitsch), August Diehl (Adolf Burger), Devid Striesow (Sturmbannführer Friedrich Herzog), Martin Brambach (Hauptscharführer Holst), August Zirner (Dr. Klinger), Veit Stübner (Atze), Sebastian Urzendowsky (Kolya Karloff). 

    98 min

    Released in Finland by Nordisk, Finnish / Swedish subtitles by Petra Honkala / Joanna Erkkilä.

    Viewed at Kinopalatsi 6, Helsinki, 6 Feb 2008. 

AA: Based on the true story of the world's greatest forgery plan, Operation Bernhard, with the cooperation of Adolf Burger. The Nazis tried to collapse world economy by a huge and ingenious forgery industry, for instance printing counterfeit British pounds and U.S. dollars. The workers were concentration camp slaves who had to work at the risk of their lives. Apparently the protagonist Salomon Sorowitsch is fictional: a Jewish criminal from the Berlin underworld who has to endure 10 years of concentration camps and is saved from Auschwitz to Sachsenhausen because he is the genius of the counterfeiters, even admired by Nazis, to his dismay. A fascinating story, intelligently told. Drab digital intermediate look.

http://de.wikipedia.org/wiki/Adolf_Burger
http://en.wikipedia.org/wiki/Operation_Bernhard

Sumurun

Sumurun poster by Theo Matejko.

Sumurun / Sumurun. DE 1920. PC: Union. D: Ernst Lubitsch. SC: Hanns Kräly, Lubitsch - based on an Oriental pantomime by Friedrich Freksa. DP: Theodor Sparkuhl. Chief of technics: Kurt Waschneck. AD: Kurt Richter, assistant: Ernö Metzner. COST: Ali Hubert. Starring: Pola Negri (dancer), Jenny Hasselquist (Sumurun, the sheik's favourite harem woman), Aud Egede Nissen (Haidee, her servant), Margarethe Kupfer (the old hag), Paul Wegener (the old sheik), Carl Clewing (the young sheik), Harry Liedtke (Nur-al-Din, a cloth merchant), Jacob Tiedtke (head eunuch), Ernst Lubitsch (the hunchback), Paul Biensfeldt (the slave merchant Achmed). 2379 m /18 fps/ 114 min.

Restored version, tinted and toned, Transit Film / FWMS, /18 fps/ 102 min. E-subtitles by AA. Viewed at Cinema Orion, Helsinki, 5 Feb 2008.

One of the most ambitious Lubitsch films, it brings together once more his trusted team and ensemble. In the female leads we meet the Polish Pola Negri, the Danish Aud Egede Nissen (here in her first of her two Lubitsch roles) and the Swedish Jenny Hasselqvist, discovered by Stiller, here in her second film role. While not one of the great Lubitsch films, there is much of interest in it. 1) the harem theme probably interested L., the sheik's favourite, Sumurun, to be replaced with Pola Negri, note the remarkable fun the harem women seem to be having, except Sumurun, 2) it is fascinating to see the familiar faces and sets in new use, most actors are not particularly convincing as Orientals, 3) the crowd scenes are always lively, 4) there are playful ornamental patterns and variations of the film framing by different masks, 5) the mighty sheik belongs to the tyrant tradition of Weimar cinema (as well as Lubitsch's Louis XIV, Henry VIII, and the Pharaon), the young lovers' happiness threatened by the tyrant, the theme of absolute power, 6) based on pantomime, this film sports less titles than the previous Lubitsch films, this belongs to the trend of less titles in Weimar cinema, 7) the tragic clown / circus / variety / show folk theme was very popular during the silent era, this belongs to the same trend as the Danish circus triangle tragedies, and soon Sjöström, Chaplin, Dupont, Robison, Hitchcock, and Sternberg's The Blue Angel, 8) it is worth reflecting that in his last role as an actor Lubitsch plays a sad clown, he overacts, as directors tend to do as actors, 9) instead of fine pantomime the film offers often crude exaggeration, and even the farce is not up to the Lubitsch standard, 10) the foot fetish returns in the scene of Liedtke kissing Sumurun's foot, 11) this print does not add to the content of the ones available 20 years ago, but the colour is new, but the Desmet style of tinting hides a lot of detail and nuance. To sum up: a more rewarding film than I remembered.

THE JUSSI AWARDS

The Jussi Gala on Sunday, 3 February, 2008, at Studio 51, Helsinki
THE JUSSI AWARDS OF FILMS THAT HAD THEIR PREMIERE IN 2007
Best motion picture of the year: Musta jää / Black Ice - producers: Kai Nordberg, Kaarle Aho, Making Movies
Achievement in directing: Musta jää - Petri Kotwica
Performance by an actor in a leading role: Tommi Korpela - Miehen työ / A Man's Job
Performance by an actress in a leading role: Outi Mäenpää - Musta jää
Performance by an actor in a supporting role: Jani Volanen - Miehen työ
Performance by an actress in a supporting role: Kristiina Elstelä - Sooloilua / Playing Solo
Screenplay: Musta jää (original screenplay)
Achievement in cinematography: Mika Orasmaa - Joulutarina / A Christmas Story
Achievement in music written for motion pictures (original score): Eicca Toppinen - Musta jää
Achievement in sound design: Kyösti Väntänen - Raja 1918 / The Border 1918
Achievement in film editing: Jukka Nykänen - Musta jää
Achievement in art direction: Jukka Uusitalo - Ganes
Achievement in costume design: Helena Paavilainen-Takala - Ganes
Best documentary feature: Yhden tähden hotelli (D: Ari Matikainen) / A One Star Hotel
...
Best motion picture of the year according to the public: Joulutarina - award was given by the Prime Minister, Matti Vanhanen
The Concrete Jussi (life achievement award): ÅKE LINDMAN - standing ovation and a heartfelt speech by the 80-year old veteran, side by side with his wife, Pirkko Mannola.
BABA LYBECK was a great gala hostess, side by side with Jussi Heikelä.
...
MY PERSONAL FAVOURITE FINNISH FILM OF 2007: Raja 1918 was not even nominated as a best film candidate

Tapani Raittila (2008 exhibition at Taidehalli)

Tapani Raittila: Vilttihattuinen omakuva (FI 1988). Yksityiskokoelma.

Tapani Raittila: Paintings, drawings, watercolours and bronze reliefs, 1939–2004. Exhibition at Taidehalli, Helsinki, 2 Feb – 30 March, 2008.

    The touring exhibition has already been seen in Sara Hildén Art Museum, Tampere, The Rovaniemi Art Museum, and The Joensuu Art Museum.

    Viewed on 3 Feb 2008.

Following the catalogue text: born in 1921, Tapani Raittila fought for five years in WWII, completed his studies and embarked on an exceptionally long and varied career as an artist. He is one of the most typical, yet also most versatile, representatives of the Finnish post-war Modernism. The veteran artist has continued to find new aspects to his refined idiom of form and colour up until the present.

Seen now, Tapani Raittila's works do not seem Modernistic. They are profoundly personal works of representational art. They convey a feeling of reflection and concentration. The exhibition has been put together with insight by the Sara Hildén Art Museum (Riitta Valorinta, Päivi Loimaala). A key is the long series of 11 self-portraits, from 1939 until 1996. We see the face of a thinker. In the room of official portraits from Kekkonen till Koivisto we see something of the same expression in every visage. There are many portraits in the exhibition and not a single smile. One starts to think about his Laestadian childhood (of Lutheran Fundamentalism) and his long war service. 

Tapani Raittila is a popular teacher, a member of a talented artist family, and an interviewee worth listening in the tv documentary Itse asiassa kuultuna: Tapani Raittila (YLE 2004, 52 min) planned by Paula Holmila and directed by Ritva Kuusisto.

http://www.tampere.fi/english/sarahilden/exhibition/previous/raittilaengl.html

Kolmistaan / Three in Love

Peter Lindholm: Kolmistaan / Three in Love (FI 2007). Below: Liisa Kuoppamäki (Maria Laakso). Top: Matleena Kuusniemi (Janita) and Kari-Pekka Toivonen (Tommi Laakso).

På tremanhand. FI © 2007 PetFilms, premiere 1 Feb 2008. P+D+SC: Peter Lindholm – dramatization: Kirsten Bonnén Rask. DP: Mark Stubbs – digital intermediate: Generator Post – 35 mm print 1:2,35. Starring: Kari-Pekka Toivonen (Tomi Laakso), Liisa Kuoppamäki (Maria Laakso), Matleena Kuusniemi (Janita), Taneli Mäkelä (Martti), Marjaana Maijala (Ritva), Juhani Niemelä (Tomi's father). 110 min. Released by Buena Vista International Finland, Swedish subtitles by Janne Staffans. Viewed at Kinopalatsi 3, Helsinki, 1 Feb 2008. An original variation of the triangle drama. Tomi, married to Maria, with children, meets Janita, is profoundly moved, but "nothing" happens (they don't make love). With great effort, Tomi stays true to Maria, but his health is affected, he loses his joy of life, and marriage becomes a chore. Maria invites Janita to Christmas dinner. There is the parallel story of Martti's affair with his wife Ritva's best friend who gets pregnant, and Ritva changes into a horrendous devil of revenge. Meanwhile, Tomi's father lies dying in the hospital, having lost his power of speech (but not of writing). An interesting cast of characters, often acting against stereotype. Unfortunately there is little excitement in the cinematic expression and too much tv soap opera style. Digital intermediate, alas.

Juno

Jason Reitman: Juno (US/CA/HU 2007) with Ellen Page and Michael Cera.

Juno / Juno. US / CA / HU © 2007 Twentieth Century Fox. P: Lianne Halfon, John Malkovich, Mason Novick, Russell Smith. D: Jason Reitman. SC: Diablo Cody. DP: Eric Steelberg - negative 35 mm (Kodak Vision2 200T 5217, Vision2 Expression 500T 5229) - digital intermediate: 2K EFilm - print 35 mm 1:1,85. Music editor: Nick South - an excellent soundtrack compilation. Starring: Ellen Page (Juno MacGuff), Michael Cera (Paulie Bleeker), Jennifer Garner (Vanessa Loring), Jason Bateman (Mark Loring), Allison Janney (Bren MacGuff), J.K. Simmons (Mac MacGuff). 96 min. Released in Finland by FS Film, Finnish /Swedish subtitles by Janne Mökkönen / Ditte Kronström. Viewed at Tennispalatsi 6, Helsinki, 1 Feb 2008. The protagonist is a 16-year old girl who gets pregnant. What follows is constantly interesting, surprising, humoristic, offbeat, responsible, and poignant. Including the cast of characters who are not stereotypical. I liked the director Jason Reitman's Thank You for Smoking, and this is further confirmation of talent. I'm also looking forward to further work by the screenwriter Diablo Cody, she is in possession of wit. Too bad about the digital intermediate.

Die Puppe

Die Puppe poster by Theo Matejko.

Nukke / Nürnbergerdockan. DE 1919. PC: Union. D: Ernst Lubitsch. SC: Hanns Kräly, Lubitsch - freely based on A.E. Wilner's play. DP: Theodor Sparkuhl. FX: Kurt Waschneck. PD+COST: Kurt Richter. Starring: Ossi Oswalda (Ossi), Hermann Thimig (Lancelot), Victor Janson (Hilarius), Jacob Tiedtke (the abbot), Gerhard Ritterband (the apprentice). Filmarchiv Austria: tinted and toned print, /20 fps/ 57 min. E-subtitles by AA. Viewed at Cinema Orion, Helsinki, 31 Jan 2008. Maybe the most delightful of Lubitsch's German comedies, mixing comedy with satire and fairy-tale. The mechanical doll theme has its links with Hoffmann and Lessing. I saw for the first time this Viennese print from vintage tinted and toned material.

Romeo und Julia im Schnee (2008 restoration-in-progress Filmarchiv Austria)

Ernst Lubitsch: Romeo und Julia im Schnee (DE 1920). They ordered poison for two. The pharmacist (n.c.), Romeo (Gustav von Wangenheim) and Juliet (Lotte Neumann).

[Romeo ja Julia Alpeilla] / [Romeo och Julia i snö]. DE 1920. PC: Maxim-Film. D: Ernst Lubitsch. SC: Hanns Kräly, Lubitsch. DP: Theodor Sparkuhl. PD: Kurt Richter. LOC: Schwarzwald. Starring: Lotte Neumann (Julia Capulethofer), Gustav von Wangenheim (Romeo Montekugerl), Jacob Tiedtke (Mr. Capulethofer), Marga Köhler (Mrs. Capulethofer), Ernst Rückert (Mr. Montekugerl), Josefine Dora (Mrs. Montekugerl), Julius Falkenstein (Paris). Tinted and toned 35 mm print, Filmarchiv Austria, /18 fps/ 48 min. E-subtitles by AA. Viewed at Cinema Orion, Helsinki, 31 Jan 2008. Shot in Schwarzwald, this is relaxed fun about two fighting families, climaxing in a masked ball where Romeo meets his rival, a simpleton, who has come dressed as an angel. Switching into the angel dress Romeo can have his way with Julia. I saw for the first time this delightful colour print. The film itself stands repeated screenings very well.

...

PROGRAM NOTE (ANTTI ALANEN 1988, 2008)

SUOMEN ELOKUVA-ARKISTO

finlands filmarkiv

Romeo und Julia im Schnee

[Romeo ja Julia Alpeilla] / [Romeo och Julia i snö]

 

Saksa 1920. Tuotanto: Maxim-Film Ges. Ebner & Co., Berliini. Ohjaus: Ernst Lubitsch. Käsikirjoitus: Hanns Kräly, Lubitsch. Kuvaus: Theodor Sparkuhl. Lavasteet: Kurt Richter. Pääosissa: Jacob Tiedtke (Capulethofer), Marga Köhler (hänen vaimonsa), Lotte Neumann (heidän tyttärensä Julia), Ernst Rückert (Montekugerl), Josefine Dora (hänen vaimonsa), Gustav von Wangenheim (heidän poikansa Romeo), Julius Falkenstein (Paris), Paul Biensfeldt (kylätuomari), Hermann Picha (kirjuri), Paul Passarge (serkku Tübalder). Kuvauspaikka: Maxim-Film-Atelier, Blücherstrasse 32, Berliini, sekä Schwarzwald. Ensiesitys: 12.3.1920 Mozartsaal ja Union-Theater Kurfürstendamm, Berliini. Alkuperäispituus: 947 m /20 fps/ 46 min

    1988: Cinemateket / Svenska Filminstitutet kopio 1003 m /18 fps/ 49 min

    2008: Filmarchiv Austria, värisävytetty kopio /18 fps/ 48 min

(Lubitschin 32. elokuva) 

Talvilomansa 1919-1920 Lubitsch yhdisti filmaustöihin ja valmisti kaksi Shakespeare-parodiaa. Kohlhieselin tyttäret oli Kuinka äkäpussi kesytetään baijerilaisittain: se oli Lubitschin suurin komediamenestys Saksassa. Muutamaa päivää sen jälkeen ensi-iltansa saanut Romeo und Julia im Schnee jäi edellisen teoksen varjoon senkin takia, että samaan aikaan oli Kapp-Putsch. Tässä alppikylään sijoitetussa Shakespeare-muunnelmassa Lubitsch herkuttelee puhtaalla rahvaanomaisuudella. 

Elokuva on paluuta alkulähteille, ensimmäisten komedioiden suoraviivaisuuteen. Paras hupi on yksinkertaisinta, kuten kohtaus, jossa juhlavieraiden nähdään kompastuvan yksi toisensa jälkeen samaan kohtaan liukkaalla tiellä. Talvinen alppikylä on sivilisaatiolta eristetty maailma, joka elää läheisessä yhteydessä luontoon. Kylän kahden perheen, nimiltään Capulethofer ja Montekugerl, välillä on kitkerä kauna. Kaunis Julia Capulethofer on luvattu debiilille Parisille, mutta hän rakastuu kotiinpalavaan talonpoika Montekugerlin poikaan Romeoon. Vain ankaran rangaistuksen uhka saa Julian taipumaan kihlaukseen Parisin kanssa. Surun murtamina Romeo ja Julia päättävät tehdä itsemurhan, ja suvut tekevät sovinnon kahden nuoren vainajan äärellä – mutta he eivät olekaan kuolleet, sillä apteekkari antoi heille myrkyn sijasta sokerivettä. 

Elokuvan keskipisteenä ovat naamiaiset, joissa Paris toikkaroi enkelin puvussa laahaavine siipineen, ja Romeo järjestää puvunvaihdoksen saadakseen huvitella enkelinä vapaasti Julian kanssa. Veljenpoika Tübalderin tehtäväksi tulee ritarin puvussaan karkottaa enkeli miekallaan paratiisista. Elokuvan satiirisiin herkkupaloihin kuuluu alkujakso käräjillä, jossa tuomari punnitsee oikeuden vaa'alla lahjuksiksi saamiensa makkaroiden painoa. Elokuva on tyyliltään kansanomainen, mutta se on täynnä vivahteita ja hienouksia. Lubitsch teki tämän elokuvan sormiharjoituksena, ja hänen huumorinsa esanssi näkyy puhtaana, kun tarinaan ei tarvinnut kirjoa suuren spektaakkelin aineksia eikä monimutkaisia juonenkulkuja.

Antti Alanen 1988

Brute Force

Jules Dassin: Brute Force (US 1947) with Jules Dassin, Sam Levene (Louie) and Hume Cronyn (Captain Munsey) with a hosepipe with which he whips Louie to the tune of Richard Wagner's Tannhäuser Overture. 

Raakaa voimaa / Läpi harmaan kiven (tv 1972) / Med våldets rätt. 

    US © 1947 Universal Pictures, [on print: © 1947 G. G. Gottlieb]. P: Mark Hellinger. 

    D: Jules Dassin. SC: Richard Brooks – based on a story by Robert Patterson. DP: William H. Daniels. M: Miklos Rosza; Wagner: Tannhäuser Overture. 

    Starring: Burt Lancaster (Joe Collins), Hume Cronyn (Captain Munsey), Charles Bickford (Gallagher). 

    98 min. 

    A good 35 mm print. 

    Viewed at Finnish Film Archive, Orion, Helsinki, 30 Jan 2008. 

A prison mutiny masterpiece revisited after 35 years: (1) the final showdown still terrific, (2) Burt Lancaster, Hume Cronyn still excellent, (3) supporting cast is first-rate, (4) William Daniels, who started with Stroheim, does great with film noir imagery, (5) Miklos Rozsa's music is melodramatic and inflammatory, (6) Jules Dassin is great with actors and mise-en-scene, (7) the choreography of the mass movements is exciting, (8) Mark Hellinger, Jules Dassin, and Richard Brooks may have channelled their feelings about the Holocaust in this film, (9) Warden Munsey beats the prisoners to the rhythm of Wagner, (10) there is a profound sense of doom, of "no escape".

Madame Dubarry (Lubitsch 1919)

Madame Dubarry (1919) poster by Theo Matejko.

Madame Dubarry / Madame Dubarry. DE 1919. PC: Union. D: Ernst Lubitsch. SC: Norbert Falk, Hanns Kräly. DP: Theodor Sparkuhl. PD: Kurt Richter. COST: Ali Hubert. Starring: Pola Negri (Jeanne Vaubernier>Madame Dubarry), Emil Jannings (Louis XIV), Reinhold Schünzel (Duke von Choiseul, Minister), Harry Liedtke (Armand de Foix). 2280 m /18 fps/ 110 min.

Restored version from tinted and toned, French/German titled material, print from Transit Film / FWMS, /18 fps/ 127 min. It is longer than the original because of the double titles. E-subtitles by AA.

Viewed at Cinema Orion, Helsinki, 29 Jan 2008.

Observations on revisiting a familiar film in a version I had not seen before: 1) it is great to see this in authentic colours, 2) the titles take slightly too much time in this bilingual version, 3) there are small things missing (nothing important), 4) this is a frivolous version of the French Revolution, 5) the crowd scenes are powerful, and there is true frenzy in the revolutionary crowd, 6) the film is visually first-rate, 7) the theme of the formal marriage and the irrepressible libido is central to Lubitsch, and there is a link to Renoir (Nana, Toni, La Règle du jeu, etc.), 8) it is nice to see the familiar trio Negri-Liedtke-Jannings playing variations of some eternal patterns in Egypt... in Carmen... and here, 9) the atmosphere is lively, 10) although the film trivializes the chain of events leading to the Revolution, it conveys its seriousness and some of the background. This is tragedy.

Coup de foudre

Diane Kurys: Coup de foudre (FR 1983). Miou-Miou (Madeleine), Isabelle Huppert (Lena).

Meidän kesken / Franska väninnor / GB: At First Sight / US: Entre nous. FR © 1983 Partner's Productions, etc. P: Ariel Zeitoun. D+SC: Diane Kurys – based on the book by Olivier Cohen and Diane Kurys (1983). DP: Bernard Lutic – Eastmancolor – Panavision 1:2,35. PD: Jacques Bufnoir. M: Luis Bacalov. Starring: Miou-Miou (Madeleine), Isabelle Huppert (Lena), Guy Marchand (Michel), Jean-Pierre Bacri (Costa), Robin Renucci (Raymond), Patrick Bauchau (Carlier). 113 min. A fine Ministère des Affaires Etrangères print with English subtitles by A. Whitelaw & B. Byron. Viewed at Cinema Orion, Helsinki, 29 Jan 2008. "A eux trois, je dédie ce film". A fine film about two women during some ten years, starting in 1942 during the Occupation of France and continuing until the 1950s. The character of Lena is based on the mother of Diane Kurys. Lena is rescued by marriage from a Nazi concentration camp in the Pyrenees, and Madeleine's boyfriend is killed by a Gestapo bullet. Lena has to face the insensitivity of her husband, and Madeleine is estranged from hers, and there are the children. The family situations are presented with vitality, the film is full of life. The women are more important to each other than men. The film is much better than I had expected by reading male reviews about it.

...

FINNISH FILM ARCHIVE PROGRAM NOTE

Suomen elokuva-arkisto

Finlands filmarkiv

Coup de foudre

Meidän kesken / Franska väninnor

 

Ranska 1983. Tuotantoyhtiöt: Alexandre Films, Films A2, Hachette Première, Partner's Productions, Société Française de Production (SFP). Tu-ottaja: Ariel Zeitoun. Ohjaus: Diane Kurys. Käsikirjoitus: Diane Kurys – sovitus: Diane Kurys, Alain Le Henry – Olivier Cohenin ja Diane Kurysin kirjasta (1983). Kuvaus: Bernard Lutic – Eastmancolor – Panavision 1:2,35. Lavastus: Jacques Bufnoir. Puvut: Mic Cheminal. Musiikki: Luis Bacalov. Leikkaus: Joële Van Effenterre. Ääni: Alix Comte, Harald Maury. Pääosissa: Miou-Miou (Madeleine), Isabelle Huppert (Lena), Guy Marchand (Michel), Jean-Pierre Bacri (Costa), Robin Renucci (Ray-mond), Patrick Bauchau (Carlier), Jacques Alric (herra Vernier), Jacqueline Doyen (rouva Vernier), Saga Blanchard (Sophie), Guillaume Le Guellec (René), Christine Pascal (Sarah). TV-lähetys Suomessa: 21.11.1987 YLE TV2 – 113 min

Diane Kurys herätti huomiota sympaattisella esikoiselokuvallaan Piparminttujuoma (1977), jonka jatko-osaksi valmistui Molotovin cocktail (1980). Kolmanteen elokuvaansa Kurys sai pääosiin tähdet Miou-Miou ja Isabelle Huppert. Alkuvaiheessaan Kurys haki mielellään aiheita lähimenneisyydestä, toisen maailmansodan ajasta tai 1960-luvusta. Mikään nostalgikko hän ei ole, vaan hän toi esiin oman naisellisen näkökulman miesten hallitsemaan elokuvateollisuuteen.

    Piparminttujuoma valotti koulumaailman arkea ja kertoi nuorten ja vanhempien väleistä. Meidän kesken -elokuvassa näkökulma on laajempi ja syvempi. Kurys palaa vuoteen 1942, Pyreneiden pieneen kylään, jonne on pystytetty vankileiri juutalaisia varten. Sota-aika on vain lähtökohtana, sillä varsinaisesti Kurys kuvaa kahden naisen ystävyyttä 1950-luvulla.

    Elämänhaluinen juutalaistyttö Lena (Isabelle Huppert) tapaa Michelinsä (Guy Marchand) sodan varjossa. He menevät naimisiin Lenan pelastamiseksi keskitysleiriltä, mutta heidän avioliitostaan kehittyy aikaa myöten melko sopusuhtainen.

    Madeleine (Miou-Miou) on taiteilijatar, joka menettää miehensä Gestapon luoteihin. Ranskan vapautuksen jälkeen hän avioituu toisen taiteilijan kanssa. Lena ja Madeleine kohtaavat ensi kerran seitsemän vuotta sodan päättymisen jälkeen Lyonissa, jolloin edellisellä on kaksi tytärtä ja jälkimmäisellä poika. Heistä tulee nopeasti parhaat ystävykset, mutta koska heidän aviomiehensä eivät tule keskenään yhtä hyvin toimeen, he tapailevat pääasiassa kahden kesken. Vähitellen kiinteä ystävyys ja yhteiset suunnitelmat aiheuttavat ristiriitoja kummankin avioelämässä. Molemmat joutuvat lopulta astumaan ulos roolistaan, joka ei salli heidän elämäänsä mitään kotia ja aviomiestä tärkeämpää.

    Kurysin elokuva on enimmäkseen miellyttävää ja virkistävääkin katsottavaa, vaikka sen kerrontaa haittaa ohuus ja pysähtelevyys. Ohjaajan vahvuuksia ovat arkisten tilanteiden ilmava, vivahteikas käsittely ja erinomainen näyttelijäohjaus. Hänen henkilöihinsä ja heidän reaktioihinsa uskoo, ja elokuvan naisiin on vaikea olla kiintymättä.

– Timo Malmin (Ilta-Sanomat 21.11.1987), Tarmo Poussun (Katso 47/1987) ja Mikael Fräntin (Helsingin Sanomat 21.11.1987) mukaan AA 29.1.2008

Elokuvan lähtökohdat ovat omaelämäkerrallisia, ja Lenan esikuva on Diane Kurysin äiti.

Coup de foudre -elokuvan englantilainen nimi on At First Sight, ja Yhdysvalloissa sitä levitettiin nimellä Entre nous. Coup de foudre tarkoittaa salaman iskua. "Ce fut le coup de foudre" = se oli rakkautta ensi silmäyksellä.

THE FINNISH CIVIL WAR OF 1918 AND CINEMA

Toivo Särkkä: 1918 (1957). The White Guards have turned the Suomenlinna sea fortress into a prison camp for the Reds. A little girl (Merja Linko) brings secretly a piece of bread to her father.

90 years have passed since the Finnish Civil War of 1918, as serious for Finland as the U.S. Civil War for Americans. Fiction films include: Dreyer: Blade af Satans Bog (1921), Pakkala: Sotapolulla (1921), Molander: En natt / Serments (1931), Särkkä: 1918 - mies ja hänen omatuntonsa (1957), Laine: Täällä Pohjantähden alla (1968), Pennanen: Mommilan veriteot 1917 (1973), Honkasalo & Lehto: Tulipää (1980), Jartti: Aapo (1994), Saarela: Lunastus (1997), and Törhönen: Raja 1918 (2007).

VALOHOITOA – IN THIS LIGHT: NEW FINNISH LAMP DESIGN (exhibition at Design Forum Finland)

Medusa ceiling light by Mikko Paakkanen / Saas Instruments (FI 2008). YouTube: MEDUSA | Saas Instruments Oy. Medusa light is designed by Finnish designer Mikko Paakkanen who has been affected in many different kind of areas where top design is needed in last few years. The unique light fixture by Mikko Paakkanen has drawn its inspiration from the movement of a jellyfish. The fixture is made of side emitting fibre optic rods lit by high intensity LED’s. A microprocessor controlled motor moves the fixture and makes it change its shape in a hypnotic way. The movement can be stopped at any stage, giving you the possibility to choose your favourite shape of the day. Size of Medusa: Depending on movement 1900 x 250mm to 1200 x 1000mm. Mikko Paakkanen (b.1975)  both a cabinet maker and designer combines new ideas, problem solving and fun in a way that is evident in the Medusa. Mikko Paakkanen was elected as Young Designer of the Year 2006 by Design Forum Finland.

Design Forum Finland 25 Jan – 17 Feb 2008, Helsinki, visited 27 Jan 2008. 

Pisara standard lamp by Petri Vainio / Doctor Design (2007)

Innosol Origo standard and desk lamp by Eero Aarnio / Innojok (2007)

H+ collection of lamps by Heikki Ruoho / Moire Japan (2006)

Foxfire standard and desk lamp by Jukka Korpihete (2007)

DNA wall lamp by Carola Lindh-Hormia / FLUX (2005)

Double Bubble by Eero Aarnio / Melaja (2003)

Overpass wall lamp by Anu Penttinen / Nounou Design (2007)

Helsinki Lighthouse ceiling light by Timo Salli / Saas Instruments (2006)

Medusa ceiling light by Mikko Paakkanen / Saas Instruments

34OY desk lamp by Yrjö Kukkapuro & Henrik Enbom / Saas (2007)

Atto ceiling light by Seppo Koho /Secto Design (2007)

Tre standard lamp by Elina Järvinen / Selki-Asema (2007)

Jako standard lamp by Mikko Laakkonen / Selki-Asema (2006)

and Plink ceiling light by Jari-Petri Voutilainen /Selki-Asema (2006). 

Exhibition producer: Laila Alanen.

 

Particular emphasis on sources of light making use of state-of-the-art technology and the latest materials. Ecologically minded consumers will choose light sources that can reduce energy consumption. 

LED lighting design presented by Sami Suihkonen, working for OptoGaN, producing LED wafers and chips.

Innovative, stylish, simple and energy-saving solutions, including the moving Medusa by Mikko Paakkanen, 34OY, Yrjö Kukkapuro and Henrik Enbom's new transparent lamp, fine woodwork in Atto, fun form in Double Bubble, and dawn/dusk design in Foxfire. 

http://www.designforum.fi/pressrelease?pressrelease=10639401

JORMA HAUTALA: PAINTINGS, GRAPHICS (exhibition at Galerie Anhava)

Galerie Anhava 10 Jan - 3 Feb 2008. Visited on 27 Jan, 2008. Jorma Hautala's acrylics: Wing - Shadow (2006), Wing - Reflection (2006), Dance in Light (2006), Dance in Dark (2006), One Other Glass of Wine (2005), Marked (2007), Helios (2006), Duo (2006), Rondo (2006), Sounding Forest II (2005), Walking Music I (2005), Walking Music II (2005), Road Movie II (2006), Road Movie I (2006), Night Wind (2007), Morning Wind (2007), lithographs: Tango III (2007), Tango V (2007), Tango VI (2007), Tango VII (2007). Kimmo Pasanen's catalogue essay "The Pulse of Space and Light": "Jorma Hautala's purely abstract paintings present the viewer with an interesting challenge. Looking at the world around us, or pictures of it, our mind immediately seeks to identify the objects of the gaze: houses, trees, stairs etc. Identification is also naming; we can describe verbally what we see. Such identifiable features are rare in abstract painting; there are only dots, lines and coloured surfaces. This is also the case in Hautala's works. At the same time, however, they contain something else, something that cannot be named, that we cannot express in words. Having set out to identify something, our gaze is lost and we are confused. From its initial stages, abstract art has sought to liberate itself from making reference to surrounding and visible reality, and has therefore always been perplexing and outright difficult to perceive for the unaccustomed viewer. How then should such paintings be viewed? Should we be satisfied with only seeing more or less pleasant ornamental designs in them? In ornament, details as such have no individual nature, no "identity", being instead interchangeable with others that are similar, without diminishing or altering decorativeness as a result. The "danger" of ornamentality has, in fact, been a threat to abstract art since its very beginning, and among others Wassily Kandinsky, one of Jorma Hautala's paragons, had to consider for long its possibility in his own art. A look at Hautala's paintings, however, soon reveals that despite certain repeated graphic motifs, the works are not decorations, for the role of their elements is clearly not to create a pleasant impression, nor can they replaced by other elements. They are carefully chosen and placed in the entity of the painting, and they cannot be removed or altered without altering or even breaking down the work itself. What then should our gaze be seeking? The answer is that our gaze should not seek anything! On the contrary, we should allow the gaze and the mind to rest and permit ourselves to be led by the work, not as passive followers but as active and receiving participants. In doing so, the rhythm of composition of the work and the beat created by its graphic elements, such as dots and lines, and the space and mood created by the colours are perceived by the receptive gaze and mind as a living and continuously changing entity in the strong sense of the word. The viewer enters a world that can only be created with the means of painting and the gaze directed at it. The artwork is ultimately created only when it begins to take shape in the viewer's mind.
This also places requirements on the viewer. According to conventional thinking, pictures and artworks depicting reality should be of such a nature that the viewer can recognize their content immediately, at first glance. Abstract art has separated itself from this recognizability, and the viewer has to make a conscious effort to steer his or her mind in the right direction. The more accustomed the viewer is to this, the more easily and sensitively will the gaze and mind be put in a receptive state. Abstract art is truly "different" art. Its contribution lies in the endless interaction of the gaze and its object. Looking at our surroundings, or for instance a photograph of them, the recognition of things that are seen satisfies in a sense the gaze and the mind: we have understood the significance of our visual perception. The gaze and the mind will then move on to consider other objects - unless perception launches some other related action. An abstract painting cannot be "exhausted" by this manner of reading, for as a whole it lies beyond conceptual and linguistic recognition and consequently it carries on its existence as a kind of enigma for as long as the gaze is directed at it and each time this happens. Of course a figurative work may do this, but figurativeness introduces a great number of "exhausting" recognizable elements leading towards a reading of the work. We might add that an abstract painting has succeeded when it retains its enigmatic nature. Hautala's paintings are successful abstract paintings.
Hautala's paintings are also accessible and even viewer-friendly. Their calm aesthetic greatly aids the gaze and mind to let themselves be led by the world of the work. The multi-layered space created by Hautala is intimate, close, and within it the pulse of black and white points subtly creates the boundaries of the space in depth. The vertical division of space receives viewers with their heads upright, allowing their minds to move into the space of the painting, constructed with contrasts and colour and value. Because of them, spaces may change place; the space in the rear will suddenly move forward. Thus, the movement of the mind in the space of work is endless, as in a labyrinth of transparent walls. In works operating with the impression of space, black is both a colour and a space, and owing to boundary contrast it gives the work light that we see unconsciously. The black field of colour also expressed the boundary at which the space of the work ends with regard to depth. Though the artist does not lead the viewers beyond it, he gives them the opportunity to venture there.
The graphic pattern extending from one end of the painting to the other insinuates that the work is in a space larger than itself. Space is, in fact, markedly conceptual in Hautala's works; it is perceived in our minds, gaining properties that are not included in visual perception. The impression of space created by Hautala is not based on the traditional structure of perspective, reducing space towards a vanishing point. On the contrary, the conception of space applied by Hautala permits the expansion of space in all directions, towards infinity. His works are like condensed "shots" of this continuum, functioning like the mirror through which Alice entered Wonderland. They give access to a larger space with a different logic than on this side of the mirror. Gravity loses meaning, everything can turn upside-down, the front may be at the back, right may be left, just as the viewer wants to move in the space.
A scale of colour based on harmony creates a stable and positive mood. Colour as such, being the domain of emotion for Hautala, is beyond the control of reason, but it is under control in the composition of its places and in the carefully considered arcs and sections of the line motifs, the "means of reason" and its often softened and sometimes even completely hidden lines. They have not been assigned any figurative role, and therefore they gain full weight as independent graphic and rhythmic elements. But a line is always drawn, and thus the viewer will also sense the artist's hand in the works. For Hautala, the making of a work of art, the craftsmanship, is mediation, and the mark of his hand is also evident in the living surface of the planes of colour, underscoring the immaterial nature of colour as the reflection of light. Craftsmanship also brings the work closer to the viewer, almost to touching distance. Hautala's paintings realize Josef Albers's magic formula of 1+1=3, a work of art being more than the sum of its parts, an entity that despite all its controlled elements, lies beyond the complete command of even the artist.
Hautala, "a hardened abstractionist", as he calls himself, is a Finnish representative of the international modernism that began to emerge particularly in Paris in the 1930s and was known at the time as "concrete art". It sought to develop means of expression specific to painting upon the latter's own conditions and terms, freed of the figurative or symbolic tasks of painting. Working along these lines, Hautala maintains many of the ideals of modernism in his art, such as the clarity and economy of expression and the aim of creating art for the sake of art. Hautala explicitly acknowledges the inspiration and guidance that he has received from the masters of modernism, while creating individual art clearly free of the formulas of different schools. He was helped in liberating himself from the formulas of strict Continental European concretism by the works of American abstract expressionists, which showed to him that abstract art could be created in other ways. While international, Hautala is at the same a Finnish artist, whose works exude a Finnish aesthetic in a calm and analysed manner, taking their light from the magical moment of the summer night between daylight and soft dusk. Although the summer nights inevitably turn into the darkness of winter, Hautala's works continue their subtle pulse of light." http://www.anhava.com/

8 päivää ensi-iltaan

8 dagar till premiären / [8 Days to the Premiere]. FI (c) 2008 Juonifilmi. P: Matti Halonen. D+SC: Perttu Leppä. The play within the film: Romeo and Juliet by William Shakespeare, the Finnish translation by Yrjö Jylhä. DP: Jyrki Arnikari. AD: Pirjo Rossi. M: Pauli Hanhiniemi. Songs include "If I Ever Fall In Love Again" sung by Mikko Leppilampi. Starring: Laura Birn (Vilma), Mikko Leppilampi (Lauri), Elina Knihtilä (BB), Unto Helo and Timo Lavikainen (Ros / Gil), Konsta Hiekkanen (Head), Ada Kukkonen (Jenni), Iina Kuustonen (Noora), Matti Onnismaa (the monk), Svante Martin (Boss), Antti Reini (the director), Mi Grönlund (Charlotta), Outi Mäenpää (Paula). Released by FS Film. Viewed at Kinopalatsi 2, Helsinki, 26 Jan 2008. A romantic comedy during the theatre production of William Shakespeare's Romeo and Juliet. An ultra-shy prompter (Laura Birn) has to take the role of Julia, and there is a triangle drama around the heartthrob Mikko Leppilampi. No tragedy this, and "the fate worse than death" is falling in love with Leppilampi. Perttu Leppä has a firm grasp of entertaining story-telling, but the comedy is formulaic, sitcom style, and there are one-note characters. Original touches include the interaction of the ghosts of Rosencrantz and Guildenstern, and "the twilight bark" of the young Goths. The audience had a good time, the well-timed comedy points were rewarded with laughter, and the young females did not hide their pleasure at the sight of Leppilampi's trimmed upper body. For comparison: All About Eve, and Les Amants de Vérone, with Anouk Aimée and Serge Reggiani. http://8paivaaensi-iltaan.fi/

Le Scaphandre et le papillon / The Diving Bell and the Butterfly

Julian Schnabel: Le Scaphandre et le papillon / The Diving Bell and the Butterfly (FR/US 2007) with Mathieu Amalric (Jean-Dominique Bauby).

Perhonen lasikuvussa / Fjärilen i glaskupan. 

FR/US © 2007 Pathé / France 3 Cinéma / CRRAV. 

     D: Julian Schnabel. SC: Ronald Harwood – based on the book by Jean-Dominique Bauby (1997). DP: Janusz Kaminski – 35 mm negative – digital intermediate – 35 mm print 1:1,85. AD: Laurent Ott, Michel Eric. Songs include "La Mer" by Charles Trenet, "All The World Is Green" and "Green Grass" by Tom Waits. 

    Starring: Mathieu Amalric (Jean-Dominique Bauby), Emmanuelle Seigner (Céline Desmoulin), Marie-Josée Croze (Henriette Roi), Anne Consigny (Claude), Max von Sydow (Papinou, the father). 

    Released in Finland by Scanbox, Finnish /Swedish subtitles by Jaana Wiik / Saliven Gustavson. 

    Viewed at Tennispalatsi 7, Helsinki, 26 Jan 2008. 

The true story of Jean-Dominique Bauby, the editor of Elle, who was paralyzed in a locked-in syndrome and could only move one eye. He devoted the rest of his life to writing a book. This belongs to the small but memorable group of "films with impossible protagonists" such as Alfred Hitchcock Presents: Breakdown, Johnny Got His Gun, The Singing Detective, Mar adentro, My Left Foot, and A Brief History of Time, and it has also affinities with other extreme experiments of subjective camera (Lady in the Lake) and brings to mind images of Christopher Reeve and the situation in Reversal of Fortune (Sunny von Bülow in coma since 1980, apparently still in 2008). As in Hitchcock and Amenábar, this is a challenge to the film-maker, solved by Schnabel by interior monologue, subjective camera and strong imagery. The rhythm of the eyelids (one bat = yes, two bats = no) gives a peculiar tempo to the film.

Guest at Cinema Orion: Mayer Franck

Mayer Franck (1928-2012). He appeared as himself in Pia Andell's documentary Matkustaja / Passenger (2011). He visited schools and met children and young people to tell them how it was. After the Orion meeting I used to see him at the Academic Bookstore and by the Stockmann Deli.

Mayer Franck (born in Zgierz near Lodz, Poland, in 1928), an Auschwitz survivor, settled in Finland in 1947. He was our guest in Cinema Orion, Helsinki, 25 Jan 2008 in the screening of Ostatni etap, a film he saw for the first time. After the Nazi occupation of Poland in 1939 the Franck family was sent to the Lodz ghetto, where Mayer stayed until he was deported to Auschwitz in July 1944. From there he was sent to another labour camp, Tzebin. In January 1945 the camp was closed, and during the march Mayer managed to hide in a barn. He was saved by farmers, spotted but ignored by SS men, and captured by the Red Army who suspected he was a spy but fortunately the examiner was also a Jew. Life in post-war Poland was terrible for Jews, and in January 1947 Mayer came to Finland to stay and founded a family.

Mayer's comments on Ostatni etap: 1) it's about the women's block, foreign to him, 2) every day I expected that the planes would come to bomb Auschwitz, 3) I expected to be taken to Birkenau, but the orders changed by the day, 4) every day there was the selection, 5) the selection was the worst, 6) the young cruel women with their Schäfers were more horrible than men, children were ruthlessly crushed, 7) the orchestra I never heard, 8) doctors I never saw, 9) we only had numbers, no names, 10) everybody belonged to a certain work unit, 11) we did not sleep in beds but on the floor (stone or sand), without clothes, without lavatories, piled on top of one another, 12) there was no tea but dirty water, 13) we were not in stone but wooden barracks, 14) one was provoked against another.

To sum up: for Mayer Franck, Auschwitz was basically like in Ostatni etap but worse. He still has nightmares every night and needs sleeping pills to be able to sleep.

Ostatni etap / The Last Stage

Ken tästä käy... / Sista etappen. PL 1948. PC: Film Polski. P+D: Wanda Jakubowska. SC: Wanda Jakubowska, Gerda Schneider. DP: Borys Monastyrski. PD: Roman Mann, Czeslaw Piaskowski. M: Roman Palester. Starring: Tatjana Gorecka (Eugenia, doctor-prisoner), Antonina Gordon-Gorecka (Anna, nurse-prisoner), Barbara Drapinska (Marta Weiss), Aleksandra Slaska (superintendent of the women's block). A 35 mm Filmoteca Narodowa print with English subtitles (often good definition of light, partly high-contrast and dark). Viewed at Cinema Orion, Helsinki (Forum Holocaust), 25 Jan 2008.

Observations revisiting a classic film: 1) this is the story of the women's block, 2) strong opening scene, bullied women prisoners, one of them pregnant, are kept standing, but they stay tough and express solidarity by swinging rhythmically, 3) the story of the baby in Auschwitz, 4) here are iconic images such as the smoke from the crematorium chimneys, suicide victims on the electric fence, the endless heaps of hair, toys, suitcases and so on, 4) strong dramatic score, 5) the women' s orchestra playing classical music, 6) the songs of the prisoners in Polish, Russian, and French, 7) banal schlager music in the torture chamber, 8) the prisoners are au courant of the war events, 9) the underground resistance with a secret telegraph and radio, 10) many Nazis are thieves, including the fake doctor, 11) this is the story of women's solidarity, 12) the Communists are heroes, there is jubilation for a declaration from Stalin, and the Red air force is the image of coming liberation. Final message: "never again".