Teuvo Tulio, Finland's mad genius

Here's a new article on Finnish film-maker Teuvo Tulio on the AV Club's site. Short quote: "In the pantheon of unclassifiable filmmakers, there is a special place for Teuvo Tulio, Finland’s king of shameless melodrama. A fetishist, an outsider artist of 1940s and ’50s film, he was outrageous, incapable of subtlety, rising to a higher plane of camp—beyond Ken Russell, beyond Nicolas Cage doing an accent, beyond Beyond The Valley Of The Dolls."

I've mentioned Tulio at least twice on this blog, here and here.

Tuesday's Overlooked Movie: a few Finnish neo-noirs

Some weeks ago The Festival of Finnish Cinema showed some Finnish films that can be labeled as neo-noir. This was continuation from the last year's theme of Finnish film noir. Last year only films from the studio era were shown, now the films were mainly from the eighties and nineties, with one film from 1978 and one from 2011.

Kaurismäki: Crime and Punishment

The first one shown was Aki Kaurismäki's debut feature based on Dostoyevsky's Crime and Punishment. The film was made in 1983 and already shows the sureness of Kaurismäki. His style has changed somewhat after this, but it's still clearly his film. The spare narration, tight frames and the matter-of-factness of the dialogue are pure Kaurismäki. The film, taking place in Helsinki in the 1980s, is a bit like B-movie shot in only a few days, but it still packs quite a punch and remains one of Kaurismäki's best up to this day. Kaurismäki has some other films that could be labeled as neo-noir, such as Ariel, Hamlet Goes Business (even though it's pure comedy from the start) and I Hired a Contract Killer, in which a quiet man (Jean-Pierre Leaud) asks a hired killer to finish him off. There's also the TV movie Dirty Hands made from Sartre's play, which might also qualify, but I haven't seen it. 

Pauli Pentti produced and co-scripted and worked as assistant director in many of Kaurismäki's films, and he directed two neo-noirs in the eighties. Both were shown at the festival. Pimeys odottaa (Darkness Awaits, 1985) is perhaps the most quintessential Finnish neo-noir, strange drama of a young man who gets caught up in scheming and betrayal. The story unfolds a bit uneasily, but there's still lots of interest in the urbane film. Macbeth, made almost hand in hand with Kaurismäki Hamlet Goes Business in 1987, takes Shakespeare's nasty little tale into the late eighties' Helsinki. Macbeth in the film is the leader of the gang of criminals who rob empty houses and gas stations at the sea-side. The film is nicely photographed, but it's unfortunately marred by unclear narration of events. If you don't know the story beforehand, it's possible you don't really understand what goes on in Pentti's Macbeth. 

Pekka Hyytiäinen was an indie director, who made only three feature-length films two of which were shown at the festival. His first, Kirje (The Letter, 1978), was his most successful, as it was seen by 600 people when it opened! There are interesting elements in this psychological thriller, but the film is so slow there's actually no tension at all. Only glimpses of what was to come are seen on screen. Hyytiäinen's next, strangely titled 50-minute i + i (1981), is much more interesting. It's almost a collage of experiences in the life of a young man who's morbidly interested in suicide and dying. There's no coherent story line and it's difficult to tell what's going on in the film, as some of the film stock was almost destroyed by the laboratory, but the scenes were used nevertheless. i + i was seen by some 400 people in the premiere week after which it vanished almost completely. 

Hyytiäinen's best film, MP - minä pelkään (I Am Scared, 1983) was shown afterwards in the Finnish Film Archive's series, and it's ten or even hundred times more powerful than i + i. It's a dystopian horror tale set in a near future. There's possibly a war going on somewhere of which there are some really strange news on TV. A small family is trying to have a vacation at their summer cabin, and the reality and the dreams and nightmares of the family mingle with each other. MP is a very experimental film with some haunting imagery. It's an uneven piece of work (especially the actors are not up to their tasks), yet unlike any other film made in Finland, still it was seen only by some 300 people in 1983. After it was dug out from the archives some five years ago, it's been seen by more people than during its few weeks in the 1980s.

Tallinnan pimeys (The Darkness in Tallinn, 1993) by Ilkka Järvi-Laturi is more a suspense film than a proper neo-noir, but it was shown nevertheless, as it is not often seen and it's not out on DVD. I didn't watch the film at this time, but I saw when it came out. It's a well done caper movie set in Tallinn just after Estonia declared independence from Russia. Ilkka Järvi-Laturi's debut movie Kotia päin (Homeward, 1989) is also worth a look if you're interested in Finnish neo-noir, as is his History Is Made at Night (1999), but it's also so bad it practically ruined his career and he hasn't directed since. 

All the previous films were over 20 years old, but there was still one neo-noir more from 2011: Martón Jelinko's indie film Pystyssä (Indebted) that wasn't shown in Turku during its premiere week, so this was its proper premiere in this city. Jelinko, a Hungarian-born film-maker working in Finland, was at the screening and told how this movie was made with only 8,000 euros and how it was distributed without any funding from the Finnish Film Foundation (that's almost the only way to get your film properly distributed here). Jelinko also told his biggest influence in making Indebted was Nicholas Winding Refn's Pusher trilogy, which to my mind is a recommendation. Indebted tells the story of two young women, the other working for a crime gang, the other working as a prostitute to pay her bills. It's hard-hitting movie with a recklessly moving camera and some tough violence. The ending is bleak, as befits a neo-noir movie. Indebted is not going to be released on DVD or Blu-Ray, but you can watch it at Indieflix. Comes highly recommended by me. 

There could've been more neo-noirs to be shown in the festival, but there were time and schedule restrictions. Some films, such as Veikko Aaltonen's two or three stylish and hard-hitting crime films, were shown during earlier festivals. I mention some other films in the post on studio-era film noirs; link at the top of this post.

More Overlooked Movies here. 

Finnish film noir: some worthy specimens

The Warsaw Song, Chris Paischeff in the middle

Some weeks (or months?) ago I wrote a review of John Grant's A Comprehensive Encyclopedia of Film Noir and listed some Finnish specimens of film noir. I mentioned I'd be seeing some of them on big screen, since there was a festival of Finnish cinema here in Turku where I live and one of the themes of the festival was - ta-ta! - Finnish film noir. Here's a lowdown of the films I managed to see.

Varsovan laulu (The Warsaw Song, 1953, director: Matti Kassila): hardboiled and cynical tale of two booze smugglers, who struggle with love and lust. Very noirish with a downbeat ending and some quite seedy love triangle in the middle of the film. Chris Paischeff makes a very nice femme fatale in the lead. Suffers from the director's indecisiveness: there are two plotlines that don't mix easily. Suffers also from laughably props in the scenes set overseas.

Pikajuna pohjoiseen (Express to North, 1947, director: Roland af Hällström): I'm not sure whether this really qualifies as a film noir, but it has a very downbeat ending. The film seams almost effortlessly into a tragedy after being a thriller with comic overtones. Possibly one of the best Finnish feature films ever, reminiscent of English thrillers of the thirties and especially French films of the thirties and fourties. Set almost entirely on a train. Suffers from overacting at various points.

Silmät hämärässä (Eyes in the Mist, 1952, director: Veikko Itkonen): a very peculiar film about a writer who's down on his luck and drifts into a hotel room seeing four desperate-looking men in a room across the street. The writer imagines what has brought the men together. Their fictional story is told in a flashback (that has some flashbacks seamed in it), and in the end it's revealed the men's story forms the writer's new short story. Quite intricate with some good scenes throughout, but a bit contrived and not very plausible, but still possibly the most noir of the Finnish film noirs.

Joel Rinne gets mad in The Price for One Night

Yhden yön hinta (The Price for One Night, 1952, director: Edvin Laine): an attempt to bring the neorealistic formula of the films such as The Naked City to Finland. Succeeds at times, but is also unintentionally funny, especially in the scenes with criminals. On the other hand, Joel Rinne as the criminal mastermind gets into a Dennis Hopper craze as he twists his lady friend's head violently back and shouts: "Kiss Me! Kiss Me!" The film is fast-moving, though, and never really boring.

Olemme kaikki syyllisiä (We Are All Guilty, 1954, director: Aarne Tarkas): director-writer Aarne Tarkas was very interested in American film and film noir (and in American popular culture altogether, he picked his last name from ERB's Mars books!) and that shows in his comedies and crime films. This is a serious attempt to depict a doomed love story between a young man who suffers from mania and fits of rage and an innocent young woman who loves him first, but betrays him in the end. Quite believable and suspenseful to the end. I believe Tarkas himself suffered from ADHD that was left unattended, and I got to thinking this film might be something of a self portrait.

Tulio's The Criminal Woman

The film noirs I didn't manage to see:

Kultainen kynttilänjalka (The Golden Candelabra, 1946, director: Edvin Laine): crime film with gothic and comedy overtones. Never seen it, so can't comment. From what I've heard veers into camp.

Rikollinen nainen (The Criminal Woman, 1952, director: Teuvo Tulio): I've seen this earlier, a story of a woman who's driven mad by a jealous and abusive husband. I've written about Tulio earlier here.

These are of course not all the film noirs made in the Finnish studio system, I'm sure there's at least a dozen more. And of course there are some fringe examples, crime films that have lots of comic element in them, spy films made in the appropriate era, psychological thrillers that are devoid of the noir feel, pessimistic domestic dramas with downbeat endings etc.

I'm sure some of the films I mentioned above could be shown at a noir festival like, say, Noir City that has had British and Spanish film noirs during the past years. Paging Eddie Muller!

See also my posts on Finnish western films, part one here and part two here. And since this probably qualifies as an Overlooked Film post, go to Todd Mason's blog here to check the other overlooked films out!

John Grant's massive encyclopedia of film noir

One of my Christmas presents was this huge film noir encyclopedia by film historian John Grant. I asked for it on purpose, because I had a hunch I'd enjoy the book.

And I most certainly did. Grant's book commands respect. He covers 3,500 films, both classic films noirs of the Golden Age of Hollywood and later neo-noirs of the 1970's, 1980's and 1990's. He also includes lots of forgotten gems no one's ever heard of and has a feel for the Asian films as well. Grant knows his stuff and writes well. He has also nice things to say about some underrated films.

There are some problems with the book, though. The main thing for any reader is that it doesn't have a proper index. Some actors and directors are indexed, but it's a frustrating collection of only the most famous names. The point of this kind of book is the info on less-known films and directors, although Grant gives nice mini-essays also on well-known films, such as Citizen Kane. The info on the films is at times a bit thin, sometimes Grant provides only a short synopsis. And I happen to have a habit of skipping synopses and going straight to the review or the analysis part.

Grant also includes films I have a hard time to accept as noirs, mainly from the eighties and nineties, such as Ridley Scott's Black Rain, Gregory Hoblit's Primal Fear and Alan J. Pakula's Presumed Innocent. Are these noirs?

It's of course possible to say that it's better to give too much information than too little of it. Grant also includes films that are only fringe noirs, such as British suspense fillers from the fourties. It's unlikely they are full of sound and fury and despair that describes some of their Hollywood counterparts. But it seems Grant allows for many kind of definitions of film noir, even contradictory. He discusses these definitions in the foreword, giving out examples and thematic similarities, but still seems like his definition is too wide. I'm not really complaining, mind you, it's interesting to read also about those films.

I could find some films that Grant hasn't mentioned. What about Stark Fear from 1963? Radio On from 1979? I also checked - rather painstakingly because of the absent index - all the films based on the books and screenplays by Jean-Patrick Manchette. There's only one mentioned!

There are also some glaring omissions of foreign films noirs. It's understandable of course, when there's only scarce or no information on them easily available. Then again there are lots of non-Hollywood films Grant mentions I've never heard of (and likely will never see) from, say, Spain or Greece. Grant mentions some Finnish films as well, but he has only some three films by Aki Kaurismäki and one (half-Estonian) by Ilkka Järvi-Laturi. All of them are neonoirs from the eighties and nineties, while there were lots of studio-era films noirs made in Finland. Here are some of the classic Finnish films noirs for you:

Teuvo Tulio: Rikollinen nainen (The Criminal Woman); Sellaisena kuin sinä minut halusit (The Way You Wanted Me); Rakkauden risti (The Cross of Love) (all sleazy melodramas)
T. J. Särkkä: Kuu on vaarallinen (The Moon is Dangerous,  pure James M. Cainish stuff about a wild woman charming an older guy)
Roland af Hällström: Pohjoisen pikajuna (The Express Train to North, suspense in a train)
Edvin Laine: Musta rakkaus (Black Love - hey, even the title is purest noir!)
Matti Kassila: Varsovan laulu (The Warszaw Song; about smuggling); Tulipunainen kyyhkynen (The Crimson Dove, psychological suspense)
Veikko Itkonen: Silmät hämärässä (The Eyes in the Mist, one of the purest films noirs in Finnish cinema)
Aarne Tarkas: Olemme kaikki syyllisiä (We're All Guilty, what could be more noir than that?); Hän varasti elämän (He Stole a Life, marvelous Psycho pastiche, made already in the early sixties, absurd and darkly funny)

There are lots of others, but these came off top of my head. There are also many humorous crime films that because of the time they were done and the black-and-white photography are mentioned as films noirs, but I'm not sure whether they qualify. Some of the films mentioned above will be screened at the Festival of Finnish Cinema later in the coming spring, I'll write more about them then (as I did last year about Finnish westerns, see here and here).

As Grant also has lots of neonoirs in the book, here's also a list of Finnish neonoirs:

Pauli Pentti: Pimeys odottaa (The Darkness Waits); Macbeth (b&w rendering of the Shakespeare play)
Pekka Hyytiäinen: MP - minä pelkään (IA – I'm Afraid, uneasy but very hypnotic mixture of experimental dystopian film and some very personal horror; Hyytiäinen's other indie-produced films might also qualify, but they are very hard to come by)
Veikko Aaltonen: Tuhlaajapoika (A Prodigal Son, sleazy scumbag noir with S&M undertones); Rakkaudella, Maire (With Love, Maire, very stylish piece of Hitchcockian noir)
Petri Kotwica: Musta jää (Black Ice, family noir)
Ville Mäkelä: Lain ulkopuolella (Outside the Law, a vigilante film)
Taavi Kassila: Petos (Betrayal, a nice piece of epoque noir)
Mika Kaurismäki: Condition Red (Aki's brother's film filmed somewhere in Texas)
Visa Mäkinen: Yön saalistajat (The Predators of the Night,
sleazy hardboiled crime film from the only proper exploitation director-producer of the Finnish film history)

(Too many links to provide here, sorry - Google them or check them at IMDb!)

All in all, John Grant's book comes highly, highly recommended by me.