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The Ladies' Man

Tags:#ladies, #from, #jerry, #lewis, #miss, #there, #film, #paramount, #herbert, #heebert, #welenmelon, #katie, #george, #person, #studio, #with, #also, #comedy, #jacques, #tout, #self, #able, #kuin, #dans, #celle, #pour, #elle, #avec, #mais, #comme, #quil, #finit, #scne, #mise, #elles, Search:ladies, from, jerry, lewis, miss, there, film, paramount, herbert, heebert, welenmelon, katie, george, person, studio, with, also, comedy, jacques, tout, self, able, kuin, dans, celle, pour, elle, avec, mais, comme, quil, finit, scne, mise, elles,

The Ladies" Man: the doll house set. The biggest set and the biggest camera crane in Hollywood. Please do click to enlarge the image.

The Ladies" Man: where the shadows run from themselves. In the forbidden room, the White Room, Jerry Lewis meets Miss Cartilage (Sylvia Lewis, no relation). There is an Irma Vep affinity in the Musidora-like performance. She is introduced as a Batwoman hanging from the ceiling upside down. One of the last film roles of the classically trained virtuoso dancer. The Ladies Man / Jerry naisten miehenä / Jerry naistenmiehenä / Jerry Lewis naisten miehenä / Huller om buller US © 1961 Jerry Lewis Productions. PC: Jerry Lewis Productions / York Pictures Corporation. Distributor: Paramount Pictures. P: Jerry Lewis. D: Jerry Lewis. SC: Jerry Lewis, Bill Richmond. DP: W. Wallace Kelley – Technicolor – 1,85:1. Crane operator: Carl Manoogian. AD: Ross Bellah, Hal Pereira. Set dec: Sam Comer, James W. Payne. VFX: John P. Fulton. Cost: Edith Head. Wardrobe for Jerry Lewis: Sy Devore, Nat Wise. Makeup: Wally Westmore. Hair: Nellie Manley. M: Walter Scharf. Songs: “Don’t Go To Paris” and “Ladies’ Man” lyr. Jack Brooks, comp. Harry Warren. “Bang Tail” (Harry James). Choreography: Bobby Van. S: Bill Wistrom – mono (Westrex Recording System). ED: Stanley E. Johnson. C: Jerry Lewis (Herbert H. Heebert / Mama Heebert), Helen Traubel (Helen N. Welenmelon), Pat Stanley (Fay), Kathleen Freeman (Katie), George Raft (himself), Harry James and His Orchestra, Marty Ingels (himself), Buddy Lester (Willard C. Gainsborough), Gloria Jean (Gloria), Hope Holiday (Miss Anxious), Jack Kruschen (Graduation Emcee Professor), Lillian Briggs (Lillian), Doodles Weaver (soundman), Sylvia Lewis (Miss Cartilage), Dee Arlen (Miss Liar), Francesca Bellini (dancer), Vicki Benet (Frenchie), Mary LaRoche (Miss Society), Ann McCrea (Miss Sexy Pot), Madlyn Rhue (Miss Intellect), Caroline Richter (Miss Southern Accent), Lynn Ross (Miss Vitality), Beverly Wills (Miss Hypochondriac), Westbrook Van Voorhis (himself, Person to Person). Studio: Paramount Studios, 5555 Melrose Avenue, Hollywood. Premiere: 28.6.1961. Helsinki premiere: 30.3.1962 Aloha, distributor: Oy Cinema International Corporation Ab – tv: 19.10.1971 Yle TV1, 1.11.1983 MTV2, 15.8.1988 TV3, 8.7.1998 MTV3, 2.7.2006 ja 3.1.2008 Yle Teema – dvd: 2006 Paramount Home Entertainment Finland – VET 60114 – S – 2650 m / 97 min (VET, IMDb), 106 min (AFI, Wikipedia). A vintage Technicolor print with Swedish subtitles screened at Cinema Orion, Helsinki (Jerry Lewis in memoriam), 31 March 2018 Jerry Lewis is at his best in The Ladies" Man, his second film as a director, famous for its dollhouse set, the biggest in Hollywood, and the use of the world"s biggest camera crane to catch the complex choreography of movement from room to room and floor to floor in smooth long takes (see the image above). There is an affinity with the Greenwich Village set of Alfred Hitchcock"s Rear Window, also produced at Paramount Studios. Victoria Duckett reminded me of early cinema affinities going back to Georges Méliès (films such as Les Affiches en goguette, 1906). The Bellboy, Lewis"s debut film as a director, had been dedicated to his friend and advisor Stan Laurel. Also in The Ladies" Man the bond with classic silent comedy pantomime is evident. But The Ladies" Man is also a work of modernism, modernist comedy, with an affinity with Jacques Tati"s Playtime which had its premiere five years later. Conscious homage to The Ladies" Man was paid by Jean-Luc Godard in Tout va bien (1972). Federico Fellini"s La città delle donne comes to mind, too. Even Francis Ford Coppola was influenced by Lewis in One from the Heart (1982). The total stylization, the assured choreography, and the "artificial paradise" approach to scenography are reminiscent of the musical genre. Jerry Lewis creates a magical, oneiric, and hallucinatory vision with surreal touches (butterflies coming alive, bleeding lipstick on the portrait towering over the hall, the mysterious White Room). It is a character comedy, full of women, but entirely dominated by the Jerry Lewis character Herbert H. Heebert. The comic character is beyond realistic psychology, an abstracted and stylized clown like Lewis"s models including Harpo Marx, Stan Laurel, and early Charles Chaplin. His is a bold and startling comic persona, neurotic and hysterical, even stark raving mad. He is literally infantile, jumping into Kathleen Freeman"s lap as he enters the dollhouse, spoon-fed in a baby chair during his first breakfast there. At the same time he is juvenile and adolescent, exaggerating the clumsiness and bad coordination of a young person growing up too fast. In his agility and extraordinary skill in running, jumping and hanging from the ceiling he is like a monkey. Herbert is retarded, narcissist, and solipsist, but he is not a tyrant running rampant in his harem. Instead he is a panicked and humble servant to the girls mothered by Katie (Kathleen Freeman) and Mrs. Welenmelon (Helen Traubel). No equal and mature relationship with a female of his own age is thinkable, but there are moments of tenderness and friendship with the inhabitants of the dormitory of aspiring young female actresses and artists. In many ways I am reminded of Alfred Hitchcock"s Psycho (1960) released the year before, most importantly by the mother fixation. In moments of crisis Herbert keeps crying "Maaa!". In my Jerry Lewis obituary I called him the comedian of the age of extremes. His debut as a child entertainer started with a performance of "Brother, Can You Spare Me a Dime" during the Great Depression. He embodied the existential horror of the nuclear age, Holocaust, and the Cold War. He was also the comedian of the Age of Affluence, the economic miracle, the consumer society, and the youth culture. At his best, in films such as The Ladies" Man, Lewis also tapped into something timeless, going back to the genesis of drama and comedy, something that the classics of antiquity would have recognized and appreciated. From the opening stills in the Look parody credit title sequence Lewis caricatures not only the self in the modern world but the human condition itself. We laugh at the very acts of walking, talking, looking, and making faces. The plot is the flimsiest of token narratives, a hanger for a string of gags. Some of the most memorable ones are almost abstract, detached views such as a scene near the beginning where Herbert concentrates to think whether he"ll stay. It"s a funny parody on the act of thought. Lewis is also one of the masters of the slow burn and the double take. Perhaps he had learned a thing or two from his friend Stan Laurel. There is a magisterial delayed reaction study in the sound check sequence where Lewis registers to the overwhelming volume in his headset. Aristotle remarked that the human is the most mimetic animal, and Jerry Lewis makes comedy about mimesis itself. Which all children are able to do. A talent which great artists know how to preserve. There is even a level of existential comedy. A metaphysical laughter at being itself. Bright and authentic Technicolor in the vintage print with signs of wear in the heads and tails of reels. Some sources (AFI, Wikipedia) give the duration as 106 minutes. This print ran 95 minutes, and the continuity was smooth with minor joins, so perhaps there are two different edits of this gag-driven movie. OUR PROGRAM NOTE BASED FROM JACQUES LOURCELLES: OUR PROGRAM NOTE BASED FROM JACQUES LOURCELLES: Jerry naisten miehenä oli Jerry Lewisin toinen elokuva ohjaajana ja hänen ensimmäinen väriohja-uksensa. Se sai suuremman yleisönsuosion kuin Jerry piccolona ja Jerry Hollywoodissa, vaikka se ei ole yhtä täydellinen kuin ne, eivätkä sen fantastiset gagit ole yhtä aidosti outoja. Elokuvan on kahdella tavalla kiinnostava. Se rikastaa ja systematisoi sitä jälkeenjääneen ja kompleksisen teini-ikäisen hahmoa, jota Lewis oli näytellyt Dean Martinin kanssa. Ja se osoittaa suunnan, johon Lewis kehittelee näyttämöllepanoaan (mise-en-scèneä) leikin ja vallan pelikenttänä. Herbert H. Heebert on naisten traumatisoima. Naiset hoivaavat häntä äidillisesti (kohtauksessa, jossa Katie hoitaa häntä) tai hän hoivaa heitä äidillisesti, mutta milloinkaan hänellä ei ole tasaver-taista suhdetta heidän kanssaan, eikä hänellä ole erityissuhdetta kehenkään. Herbertin patologisuus (hänen viehtymyksensä orjuutukseen ja tietynlaiseen masokismiin) paljastaa myös hänen normaali-suutensa: hän haluaa olla hyödyllinen ja rakastettu kuten kuka tahansa ihminen. Herbert kuuluu kolmeen ulottuvuuteen: burleskiin (lukemattomat kömmähdykset), patologisuuteen ja normaalisuu-teen, ja näistä juontaa juurensa henkilöhahmon outous ja rikkaus. Ohjaaja Lewis hyödyntää mise-en-scèneään samoin kuin koomikkohahmoaan. Hän leikkii tavalla, joka on sekä infantiili että luova. Hän rakentaa lavasteekseen jättiläismäisen nukkekodin, joka on korostetun kulissimainen. Mutta elokuvan varsinainen tila ei ole rouva Welenmelonin talo vaan Paramountin studio, jossa talo sijaitsee. Lewis, tuo suuruudenhullu demiurgi, rakentaa studioon tyhjyyden ja runsauden. Muistamme en-simmäisen otoksen, jossa rauhallinen kylä joutuu kommellusten ketjun seurauksena kuin pyörre-myrskyn valtaan tai jakson, jossa meluavat teknikot ilmestyvät kuin tyhjästä. Mise-en-scène on Le-wisille taikasauva, joka tekee kaiken mahdolliseksi. Hän loihtii jopa suuren tähden (George Raft) tanssimaan siihen. Mise-en-scène on leikin (siis vapauden) tila ja manifestaatio, jossa ilmenee tahto valtaan. Ohjaajan ylikorostunut suuruudenhulluus tasapainottaa kiehtovasti hänen esittämänsä hen-kilöhahmon passiivisuutta. Vapauden ja vallan yhdistelmä on Lewisin hyvitystä tilanteesta Dean Martin-kaudella, jolloin hänellä ei ollut niin hauskaa eikä niin paljon valtaa (ei ainakaan niin paljon kuin hän olisi halunnut). Muutoin Lewis pitää fiktion perinteisiä sääntöjä pilkkanaan. Jaksot seuraavat toisiaan kommellusten vyörytyksessä ilman mitään selvää järjestystä; ne seuraavat vain hänen mielikuvituksensa korkeam-paa järjestystä. Valkokankaan edessä Lewis säilyttää saman luovan vapauden kuin abstrakti maalari kanvaasinsa ääressä. Joskus kankaan valtaavat puhtaat värit, joskus pelkkä valkoinen kuten kielletyn huoneen jaksossa. – Jacques Lourcelles (Dictionnaire du cinéma: Les Films. Pariisi: Robert Laffont, 1992) AA 31.3.2018

JACQUES LOURCELLES: SYNOPSIS Milltown (4 234 âmes) dans le New Jersey. Ayant recu son diplôme au collÈge, le jeune Herbert H. Heebert découvre sa fiancée, celle qui lui était promise depuis toujours, en train d"embrasser un autre homme. C"est pour lui un véritable traumaisme, qui le pousse à s"éloigner des femmes et à chercher, à la ville, un emploi où il soit hors de leur portée. Ayant vu sur une porte une affiche proposant un emploi pour célibataire, il croit avoir enfin trouvé son affaire. La cuisinière de la maison, Katie, l"accueille et compatit à ses malheurs. Elle lui montre sa chambre. Le lendemain matin, dans la salle à manger, il se trouve nez à nez avec plusieurs dizaines de jeunes femmes. Il bondit pour prendre la fuite mais la fondatrice de cette pension pour actrices débutantes, Mrs. Welenmelon, une ancienne cantatrice, saura le persuader de rester. Il exige comme condition qu"on ne le touche pas. Herbert devient ainsi le factotum de toutes ces femmes. Jusqu"à présent, personne n"a pu tenir plus de trois jours dans cet emploi. Mais Katie a su découvrir qu"Herbert est incapable de dire non et se trouve animé par un irrésistible désir de se rendre utile. Son travail consiste à nettoyer la maison (il brise la plupart des objets qu"il nettoie), à nourrir Baby, un petit chien qui hurle comme un monstre et dévore comme un ogre, à distribuer les lettres (et chacune des pensionnaires a une réaction inattendue en recevant son courrier). Herbert persécute sans le vouloir un homme aux allures de truand, venu rendre visite à l"une des filles. Il oblige George Raft lui-même à lui prouver qu"il est bien George Raft. Il remonte le moral d"une fille, sa protégée, en lui apprenant à ne plus douter d"elle-même. Il assiste au tournage d"un reportage de télévision sur Mrs. Welenmelon et son home et perturbe passablement le travail des techniciens. Il ouvre la porte de la seule pièce qui lui ait été interdite et là, dans un décor tout blanc, danse avec une femme en noir un peu inquiétante au son d"un orchestre de jazz. Plusieurs fois, il a voulu quitter la pension, mais il en a été empêché. Sa protégée demande qu"on le laisse enfin faire ce qu"il veut. Voulant à nouveau s"en aller, il voit qu"on ne le retient pas et en est tout démonté. Il finit par rester et éprouve alors la peur de sa vie en voyant un lion traverser la salle à manger... XXXXX REVIEW BY JACQUES LOURCELLES: Deuxième film de Jerry Lewis comme metteur en scène et son premier en couleurs. Moins parfait, moins réellement insolite dans ses gags de caractère fantastique qui The Bellboy et The Errand Boy, il eut plus d"impact sur le public. The Ladies" Man présente un double intérêt: il enrichit et systématise le personnage d"adolescent retardé et complexé que Lewis avait joué avec Dean Martin: il indique la direction dans laquelle Lewis utiliser la mise en scène: comme jeu et comme exercice de pouvoir. Herbert H. Heebert est traumatisé par les femmes. Materné par elles (scène où Katie le nourrit comme un bébé) ou les maternant, il n"a jamais de relation d"égal à égal avec elles et n"entretient de relation privilégiée avec aucune. Ce qu"il y a de pathologique en lui (cf. son goût de l"esclavage et d"un certain masochisme) révèle aussi sa normalité: il veut être aimé et se sentir utile comme n"importe quel individu. La triple appartenance du personnage au burlesque (ses innombrables maladresses), au pathologique et au normal définit son étrangeté et sa richesse. Lewis metteur en scène utilise la mise en scène comme le ferait - dans l"idéal - son personnage. Il joue avec elle d"une manière à la fois enfantine et créatrice. Il se bâtit un décor, sorte de maison de poupée géante, dont il souligne bien qu"il s"agit d"un décor. Le véritable espace du film, ce n"est pas en effet la maison de Mrs. Welenmelon mais le studio de la Paramount qui contient cette maison. Lewis, en démiurge mégalomane qu"il a toujours été, crée dans ce studio le vide et le plein à sa volonté: voir le premier plan du film où un village paisible se trouve soudain comme traversé par un cyclone (sous l"effet d"une réaction en chaîne de maladresses) ou bien la séquence de l"arrivée bruyante des techniciens surgis du néant. La mise en scène est pour Lewis une baguette magique grâce à laquelle tout devient possible, et même de convoquer une grande star (George Raft) pour pouvoir la taquiner et danser avec elle. La mise en scène est espace de jeu (donc de liberté) et manifestation d"un volonté de puissance. La mégalomanie suractivée du metteur en scène équilibre et compense d"une manière fascinante la passivité de son personnage. Ce mélange de liberté et de puissance est une revanche de l"auteur sur une période (celle de ses films avec Dean Martin) où il ne s"amusait pas comme il le voulait et avait peu de pouvoir - ou en tout cas moins qu"il n"en aurait voulu. Pour le reste, Lewis se moque éperdument des règles de la fiction traditionnelle. Il entasse dans cette boîte à malices qu"est le film se séquences sans ordre apparent; elles n"obéissent qu"à l"ordre supérieur de sa fantaisie. Et il tient à garder devant l"écran - parfois envahi de couleurs pures, et notamment de blanc comme dans la séquence de la chambre interdire - la même disponibilité créatrice qu"un peintre abstrait devant sa toile.

Shooting Stars (2015 BFI National Archive restoration, DCP with John Altman score)

Shooting Stars. Mae Feather (Annette Benson) loads the rifle with a live cartridge. GB 1928. PC: British Instructional Films. P: H. Bruce Woolfe. D: A. V. Bramble [and Anthony Asquith, n.c.]. SC: John Orton [and Anthony Asquith, n.c.] – [from a story by Anthony Asquith, n.c.]. CIN: Karl Fischer. AD: Ian Campbell-Gray, Walter Murton. C: Annette Benson (Mae Feather), Brian Aherne (Julian Gordon), Donald Calthrop (Andy Wilks), Chili Bouchier (Winnie, bathing beauty), Wally Patch (property man), David Brooks (Turner), Ella Daincourt (Asphodel Smythe, journalist), Tubby Phillips (Fatty), Ian Wilson (reporter), Judd Green (lighting man), Jack Rawl (man). The film was not released in Finland – 7080 ft Restored: 2015 British Film Institute National Archive, 2K DCP with new score by John Altman, played by: Live Film Orchestra – 102 min Screened at Cinema Orion, Helsinki (History of the Cinema), 7 Dec 2017 Although Anthony Asquith is not credited, Shooting Stars is generally considered his debut feature film as a director and screenwriter, the start of the most amazing period of his career. Shooting Stars, Underground, and A Cottage on Dartmoor are works of cinematic genius. There is an assured touch in the complex meta-cinematic narrative. Shooting Stars is a triangle drama between film actors: a Western hero (Brian Aherne), Mae Feather "the Sunshine Girl" (Annette Benson) and the Chaplinesque comedian Andy Wilks (Donald Calthrop). We start on the set of a romantic Western called Prairie Love and switch to the set of a slapstick comedy which is being produced on the next floor of the same studio hall. Mae is married to the Western hero but falls in love with the comedian. Andy the comedian receives the key to her home, but there is a chain of misunderstandings, and everything is exposed. In an impulsive moment Mae loads a rifle with a live cartridge, but thanks to another chain of misunderstandings it is taken to the comedy floor. The register is rich. There is a documentary approach (affectionate observations of film production, the unmasking of illusions, candid camera moments on the beach, the genuine delight of the children observing the production of the comedy). There is comedy (and not only in the comedy-in-the-film). There is parody (in the spoof of the romantic Western). There is drama (the triangle is a serious matter). There is tragedy. Finally there is a sense of existentialism, a cosmic solitude for both Mae and Julian who fail to confront each other in the finale. Mae walks away in the dark corridor, we see her silhouette at the exit, and the door closes on her. Shooting Stars was produced during the final, golden years of the silent era, and Asquith displays mastery of the moving camera crane perhaps influenced by Murnau and his ace cinematographers. He knows how to make a point with a close-up (the key, the bullet) and how to expressively use a long shot (of the studio space, of the beach exteriors). He knows about eyeline matches, expressive looks, and the power of the sustained close-up of a human face. He understands mirrors and looks exchanged through them. He understands about taking aim (with binoculars, with guns, with cameras in the films-in-the film). The touch seems light at first, but there is gravity as soon as there is a mutual realization between the three about what is going on. The change is especially startling in Mae, and Benson conveys her profound shock memorably. Shooting Stars was Donald Calthrop"s comeback film, and he would soon appear also in five Hitchcock films (Blackmail, Elstree Calling, Juno and the Paycock, Murder!, and Number Seventeen). John Altman"s jazz score works very well, indeed. The visual quality of the restoration is beautiful and refined. I was relieved and grateful to see a silent film restoration in glorious black and white, having suffered from too many restorations with oppressive digital tinting simulations. I like the sense of air and light and being able to see the glimpse in the eyes of the characters. OUR PROGRAM NOTE FROM SIMON MCCALLUM: OUR PROGRAM NOTE FROM SIMON MCCALLUM: Vaikka Shooting Stars onkin aina noteerattu kunniamaininnoilla akateemisissa tutkimuksissa se on silti saanut kärsiä siitä, että se on jäänyt Hitchcock-klassikkojen katveeseen, ja palautettaessa takaisin yleiseen tietoisuuteen mykkäelokuvan viimeisten vuosien – brittiläisen mykkäelokuvan ”kulta-ajan” – aarteita Shooting Stars on tavallisesti sivuutettu. Tämä on ollut kohtuutonta ottaen huomioon elokuvan rohkean kokeellisuuden suuren merkityksen sekä teknisesti että temaattisesti. Shooting Stars oli British Instructional Films -yhtiön ensimmäinen fiktioelokuva. Muutos yhtiön tuotantopolitiikan suunnassa innoitti tekijöitä huomattavaan vapaudentuntoon. Teos kreditoidaan nyttemmin Anthony Asquithin ohjausdebyytiksi, mutta ohjauskrediitin sai sen tekoa valvonut veteraani A. V. Bramble. Tosin Asquith sai tekijäkrediitin elokuvan nimiotsikon alla. Kyseessä on piikikäs satiiri brittiläisestä elokuvateollisuudesta. Virtuoosimaisessa avausjaksossa tähtipari Mae Feather ja Julian Gordon tulkitsevat romanttista kohtausta uusimmassa ”eepoksessaan”, mutta kameran panoroidessa taaksepäin meille paljastuu elokuvanteon illuusiokoneisto koko keinotekoisuudessaan. Samalla käy selväksi pariskunnan avioliiton hatara tila, ja näin on esitelty elokuvan avainteema: ”todellinen elämä” vastaan ”elokuva”. Maen rynnätessä pois kuvauspaikalta jakson toteutuksen kunnianhimoisuus vain kasvaa. Asquith osoittaa teknistä rohkeutta kohottamalla kameran korkealle kattopalkkeihin, josta se seuraa naisen kulkua luolamaisen studion halki. Näyttelemistyyli on elokuvan toinen erityinen tunnusmerkki: Maen tyytymättömyys ja hänen rakkautensa komediatähti Andy Wilksiin käy ilmi hienostuneen kehonkielen kautta. Asquithin hallittu ote kolmen pääosanesittäjänsä suorituksiin ilmenee edelleen kohtauksessa, jossa Julian yllättää Maen ja Andyn suutelemassa ja siinä, miten kohtauksen merkitys valkenee itse kullekin vuorollaan. Samanlaista keinojen hallintaa osoittaa tapa, jolla visuaalisia viitteitä käytetään välitekstien asemesta. Lavastus ja kuvaus tuovat studiokohtauksiin melankolista tunnelmaa, ei vähiten riipaisevassa epilogissa, jossa nöyrtynyt Mae kohtaa itsekkyytensä seuraukset. Shooting Stars alkaa välkkynä ja sympaattisena kuvauksena elokuvanteon lumetodellisuutesta, täynnä silmäniskuja yleisölle, mutta kun kolmiodraamaan liittyvä paranoia kasvaa, tunnelma synkistyy. Julian toivoo alussa, että elämä olisi ”enemmän elokuvan kaltaista” ja löytää turvapaikan elokuvateatterista, jossa hän katselee itsensä ja Maen tulkitsevan hyveen ja sankaruuden fantasiaa (kekseliäs ”elokuva elokuvassa” -motiivi on keskeinen). Kuitenkin Asquithin näkemys on kaukana ihanteellisesta, ja Maen ja Julianin seikkailuromanssien karkea teennäisyys ja Andyn köyhän miehen Chaplin-komiikka muistuttavat meitä, että todellisessa elämässä on suurempaa draamaa ja tunnetta kuin mitä elokuvastudioilla voidaan saada aikaan. – Simon McCallum (BFI Screenonline) AA 4.12.2017 ANTHONY ASQUITH (1902–1968) oli brittielokuvan keskeinen ohjaaja 40 vuoden ajan. Hän teki vaikutuksen heti ensimmäisillä elokuvillaan Shooting Stars (1928), Underground (1928) ja A Cottage on Dartmoor (1929). Hänen myöhemmistä elokuvistaan nousevat esiin vakuuttavat G. B. Shaw- ja Oscar Wilde filmatisoinnit, samoin Tyttö ja kiusaus / Fanny by Gaslight (1944), Tie tähtiin / The Way to the Stars (1945), Tapaus Winslow / The Winslow Boy (1948), Miehen varjo / The Browning Version (1951) ja Salatehtävä Pariisissa / Orders to Kill (1958).

Thierry Frémaux: Lumière! (2016 restoration in 4K) (introduced by Thierry Frémaux)

Lumière! / Lumière! FR 2016. 108 films shot in 1895–1905 by Louis Lumière, Alexandre Promio, Gabriel Veyre, Francesco Felicetti, Constant Girel, Félix Mesguich and Charles Moisson. PC: Institut Lumière. P: Thierry Frémaux, Bertrand Tavernier. D: Thierry Frémaux. ED: Thierry Frémaux and Thomas Valette, with the participation of Fabrice Calzettoni and Maëlle Arnaud. Commentary written and spoken by Thierry Frémaux. M: Camille Saint-Saëns (1835–1921): Javotte, fantaisie pour un orchestre. Rapsodie bretonne opera 7 bis. Andromaque. Suite in Re opera 49. Perf. Orchestre Philharmonique di Monte Carlo, conductor: David Robertson, recorded in 1993. With the participation of Laurent Cormier, Béatrice de Pastre, Laurent Mannoni, Davide Pozzi and Serge Toubiana. 4K restoration (2016) funded by the CNC (National Center of Cinema and the moving image) through the selective assistance for the digitization of heritage cinematographic works programme. It received the support of the Total Foundation as part of its association with the Heritage Foundation. With the support of la Ville de Lyon and la Région Rhône-Alpes. The restoration was conducted under the direction of the Institut Lumière and performed by Eclair Group using negative and positive elements from the collections of the Cinémathèque française, the Institut Lumière and the French film Archives of the CNC. The 4K scan was performed by the Immagine Ritrovata laboratory of Bologna (Italy). 90 min Distributor in Finland: Cinema Mondo, 4K DCP with Finnish / Swedish subtitles. Finnish premiere date: 6 Oct 2017. 2K press screening at Kino Engel, 20 Sep 2017. 2K festival screening at Helsinki Film Festival, introduced by Thierry Frémaux, moderated by Kalle Kinnunen, 22 Sep 2017. Thierry Frémaux has been touring around the world for two decades as a bonimenteur of live performances of Lumière films. Also I have heard him: in Sodankylä in 2001, and in Bologna on the Piazza Maggiore in 2010. Such performances are naturally special events. Now Institut Lumière has done a big favour to world culture in making these experiences available to everyone by producing an exciting package of Lumière films complete with a Frémaux commenary and a soundtrack based on the compositions of Camille Saint-Saëns, a contemporary of the Lumière brothers, and the composer of the first film score (L"Assassinat du Duc de Guise, 1908). The Lumière heritage has survived very well, and the films have always been available, most recently also as splendid dvd and blu-ray releases. But there are also difficulties and obstacles of access and cinema presentation. The original negatives have a special Lumière perforation which makes printing difficult. With film prints there are issues of proper speed (18 fps) and aspect ratio (full frame of the silent stock). Cinémathèques and heritage festivals have no problem with those issues but everybody else does. The great achievement of the new Institut Lumière production is to make these films universally available for screenings again. The films have been digitized in the correct aspect ratio and in natural speed (a difficult challenge in the current stage of digital production) in a way that enables screenings with regular digital projectors. A strength of the digital transfer is that you can access the most challenging negatives and produce copies from sources of best visual quality. I know many of these films well. Even we in Finland possess our set of Lumière films which we screen frequently. (Our next screening is on 30 October 2017). I am a critical observer of the digital scene, and I have had misgivings of the early digital transfers of the Lumière films such as the ones screened in 2010 at the Piazza Maggiore show which, however, worked under the outdoors circumstances and enabled the inclusion of 3D. Last year was different. I caught a first glimpse of these new 2016 restorations in 4K in Bologna, at the screening Anno uno 1: The Beauty of Lumière Films, with Thierry Frémaux as the bonimenteur again. The movies were not screened at 4K, not even on DCP, but from ProRes, and yet they looked stunning. I saw a lot of Lumière film prints during the same week, and it was evident that the new restorations were superior. The refined, soft and warm quality of light is there again in these new transfers. The films themselves are timeless. The more often one sees them the more one can appreciate their artistic quality. The cinematographers of the Lumière company already knew the secret of painting with light. The well-known titles are included, but there are also discoveries, such as Lyon: Quai de l"Archevêché showing us carriages on a flooded chaussée. Most of the titles are from the official catalogue (there is also a splendid online Catalogue Lumière from which I have copied the images and the captions below), but there are also fascinating views hors catalogue, such as Premiers pas de bébé (see image 19 below). Enfants pêchant des crevettes, a revelation in Bologna last year, is also included in this compilation. In the Q&A after the festival screening Frémaux remarked that there is great tenderness in the brothers" films about their own children – and an equal tenderness when they film children everywhere, including in the startling view of a little girl running towards us in the village of Namo in Annam (today"s Vietnam) (Lumière Vue N° 1296, film number 106 in this compilation) The France at Work section is exciting both as documentation and art. Ouvriers réparant un trottoir en bitume (Vue N° 1296, number 29 in the compilation) is among the visually fascinating selections. It is a bit of mischievous programming that Frémaux has included military films in the comedy section (Leçon de boxe and Assaut d"un mur). We learn that Bertrand Tavernier has commented that having seen these films it is no surprise that France lost wars. All films are in plan-séquence in early cinema fashion: all are long takes. Usually they are also in long shots, but there are exceptions such as the dynamic Vue prise d"une baleinière en marche which is in medium shot. There are also special angles such as Mont Blanc: en file indienne dans la montagne, a high angle revealing a long row of alpine troops scaling the mountain. And there is the extreme high angle, extreme long shot, and rapid tracking shot from a hot air balloon rising to the sky. Most of the film are non-fiction, but we meet the Lumières also as pioneers of fiction and comedy (The Watered Waterer / The Gardener), animation and special effects (The Sausage Machine and The Jolly Skeleton). All films are in black-and-white save one, Danse serpentine based on the famous choreography by Loïe Fuller, in fantastic colour. Thierry Frémaux"s film is not just a collection of highlights but itself a work of art in the spirit of Esfir Shub and Nicole Vedrès, the mothers of the montage film. It has a pedagogical aspect in presenting famous titles as a good introduction to the Lumière heritage. It has also an artistic vision, growing into a study in the art of light and movement in the age of impressionism. It is also a historical document of the world in 1895–1905, during the Belle Époque and the Age of Empire. And finally there is a message of love and a spirit of generosity which remind us of a wonderful current in the French cinema which continued with Léonce Perret, Jean Renoir, Jacques Becker, and Max Ophuls. A spirit badly battered during the Age of Extremes. This engrossing presentation of the Lumière heritage deserves to be seen by everybody, also in school curriculae. It is a good introduction to modern mass media culture. Early cinema experts may have misgivings, but I sense the Lumière brothers smiling on their cloud. This production does not take away from orthodox film screenings of Lumière classics but is likely to inspire a manifold new audience for them. I Pour commencer / The First Films

Sortie d’usine, [III]. Vue N° 91,3. “Les ouvriers et ouvrières sortent de l’usine Lumière.” - Cette vue a été datée grâce à l"étude des ombres architecturales (cf. le chapitre L"année 1895 et ses jalons). Opérateur: [Lumière]. Date: [15 août 1896]. Lieu: France, Lyon, Monplaisir, chemin Saint-Victor (aujourd"hui rue du 1er Film). Projections: Programmée le 4 octobre 1896 à Lyon (France) sous le titre Nouvelle sortie de l"usine Lumière (Lyon Républicain, 4 octobre 1896). Eléments filmiques: 1 copie Lumière. Pays: France. Ville: Lyon. Lieu: rue, usine, ville. Sujet: ouvrier. Objet: bicyclette. Séries: Les sorties d’usine. 1. Sortie d’usine (pas de chevaux) / Workers Leaving the Factory [without horses] (91,3)

Sortie d’usine, [II]. Vue N° 91,2. “Les ouvriers et ouvrières sortent de l’usine Lumière.”Des ouvrières et des ouvriers franchissent le portail de l’usine Lumière et sont suivis d’un fourgon attelé d’un cheval noir. - Cette vue a été datée grâce à l"étude des ombres architecturales (cf. le chapitre L"année 1895 et ses jalons). Opérateur: [Lumière]. Date: [10 mars 1896]. Lieu: France, Lyon, Monplaisir, chemin Saint-Victor (aujourd"hui rue du 1er Film). Projections: Programmation d"une sortie d"usine le 10 juillet 1896 à New York (États-Unis) (The New York Dramatic Mirror, n° 195, 11 juillet 1896). Eléments filmiques: 1 copie Lumière. Pays: France. Ville: Lyon. Lieu: rue, usine, ville. Sujet: ouvrier. Objet: bicyclette. Séries: Les sorties d’usine. 2. Sortie d’usine (un cheval) / Workers Leaving the Factory [with one horse] (91,2)

Sortie d’usine, [I], Vue N° 91,1. “Les ouvriers et ouvrières sortent de l’usine Lumière.”Des ouvrières et des ouvriers franchissent le portail de l’usine Lumière et sont suivis d’une voiture attelée de deux chevaux. - Cette vue a été datée grâce à l"étude des ombres architecturales (cf. le chapitre L"année 1895 et ses jalons). Opérateur: Louis Lumière. Date: [26 mai 1895]. Lieu: France, Lyon, Monplaisir, chemin Saint-Victor (aujourd"hui rue du 1er Film). Projections: Projetée le 10 juin 1895 à Lyon (France) (Bulletin de la Société française de photographie, 2e série, Tome XI, n° 16, 1895, p. 396). Eléments filmiques: 1 copie Lumière. Pays: France. Ville: Lyon. Lieu: rue, usine, ville. Sujet: ouvrier. Objet: bicyclette, voiture hippomobile. Séries: Les sorties d’usine. 3. Sortie d’usine (deux chevaux) / Workers Leaving the Factory [with two horses] (91,1)

Le Débarquement du congrès de photographie à Lyon. Also known as Neuville-sur-Saône: Débarquement du congrès de photographie à Lyon in France : [Arrivee des Congressistes a Neuville sur Saône], [Professor Marey Leading Photographic Congress Delegates at Lyon], [Congress of Photographic Societies, July 1895]. (1895) French. Featuring: Étienne Jules Marey, Pierre Jules César Janssen. Société Lumière production; distributed by Société Lumière. / Cinematography by Louis Lumière. / Premiered 12 June 1895, at the close of the congress. / Cinématographe spherical 1.30:1 format. / The production was shot on 11 June 1895 of the delegates of the Congrès des Sociétés Françaises de Photographie disembarking the steamer at Neuville-sur-Sâone, France. One of two films taken of the attendees of the congress. Unnumbered Lumière film. The film was described in a letter dated 1 May 1896, from Charles H. Webster to Raff & Gammon in New York. Ramsaye-Million mistakenly lists the film as shot on 10 June 1895. Synopsis: View of Marey, Janssen and congress members disembarking from a steamer boat via a wooden gangway. Source of caption: Silentera.com 4. [Débarquement du congrès de photographes à Lyon] / [The Landing of the Congress of Photographers in Lyon] (hors catalogue)

Repas de bébé. Vue N° 88. “Un papa fait avaler son déjeuner à un bébé.” - Dans le Catalogue des vues - Première Liste qu"il a remis à Georges Sadoul en 1946, Louis Lumière a annoté les vues qu"il s"attribuait dont celle-ci.- Voir aussi le chapitre L"année 1895 et ses jalons. Opérateur: Louis Lumière. Date: [22 mars 1895] 10 juin 1895. Lieu: France, Lyon, Monplaisir, maison Lumière. Personnes: De gauche à droite : Auguste Lumière, sa fille Andrée et sa femme Marguerite. Projections: Projetée le 10 juin 1895 à Lyon (France) (Bulletin de la Société française de photographie, 2e série, Tome XI, n° 16, 1895, p. 396). Eléments filmiques: négatif Lumière - 2 contretypes Lumière - 3 copies Lumière. Pays: France. Ville: Lyon. Lieu: domicile. Personnes identifiées: Andrée Lumière, Auguste Lumière, Marguerite Lumière. Genre: famille. Sujet: enfant. Séries: À Monplaisir. 5. Repas de bébé / The Meal of the Baby (88)

Forgerons. Vue N° 51. Tandis que son aide attise le foyer, un forgeron martèle une pièce de fer sur l’enclume et la plonge dans un baquet d’eau, provoquant un nuage de vapeur. - Annotation planches photographiques : “Raggio Usine”.- Cette vue n° 689 est une seconde version probablement tournée en octobre 1895 (cf. chapitre L"année 1895 et ses jalons). Une autre vue non retrouvée sur support filmique a fait l"objet d"une première version de ce sujet. Il n"en subsiste que quelques photogrammes dans un article du Bulletin de la Société française de Photographie (n° 21, 2e série, tome XI, 1895), ainsi que dans un article du Magasin Pittoresque (du 1er avril 1896). C"est probablement cette version là qui a été projetée pendant l"année 1895, notamment à Lyon dès le mois de juin : “Admirables aussi d"expression et de vigueur deux forgerons, dont l"un martèle une pièce que l"autre lui présente et vient de retirer de la forge. Rien de plus curieux que de voir la vapeur d"eau se dégager et être chassée au fur et mesure par le vent, au moment où le forgeron plonge la pièce chaude dans l"eau froide.” (Lyon républicain, Lyon, 11 juin 1895). Opérateur: Louis Lumière. Date: [octobre 1895] - [14 octobre 1895]. Lieu: France, Lyon, Monplaisir, usine Lumière. Eléments filmiques: négatif Lumière - 2 copies Lumière. Pays: France. Ville: Lyon. Lieu: usine. Genre: travail. Sujet: ouvrier. Objet: machine et outil. 6. Forgerons / Blacksmiths (51)

Arroseur et arrosé, [I]. Vue N° 99,1. “Un gamin vient appuyer le pied sur le tuyau avec lequel un jardinier arrose son jardin. Ce dernier, surpris de voir le jet s’arrêter, examine la lance ; à ce moment le gamin lève le pied ; le jet repart et l’arroseur le reçoit en pleine figure ; furieux, il court après le gamin et lui donne une correction.” - Dans le Catalogue des vues - Première Liste qu"il a remis à Georges Sadoul en 1946, Louis Lumière a annoté les vues qu"il s"attribuait dont celle-ci. Louis Lumière a précisé par la suite à Georges Sadoul qu"il n"avait tourné que cette version là, en 1895 avec François Clerc et le jeune Duval.- L"article du Patriote orléanais ne précise pas que “l"espiègle” est arrosé avant de prendre une correction, c"est pourquoi ce texte illustre la seule version dans laquelle le farceur n"est pas arrosé à son tour.- Voir aussi le chapitre L"année 1895 et ses jalons. Opérateur: Louis Lumière. Date: [22 mars 1895] - 10 juin 1895. Lieu: France, Lyon, Monplaisir, jardin maison Lumière. Personnes: François Clerc (le jardinier) et Benoît Duval. Projections: Projetée le 10 juin 1895 à Lyon (France) (Bulletin de la Société française de photographie, 2e série, Tome XI, n° 16, 1895). Eléments filmiques: négatif Lumière - 1 copie Edison. Pays: France. Ville: Lyon. Lieu: jardin. Personnes identifiées: Benoît Duval, François Clerc. Genre: comédie, vue comique. Sujet: enfant. Séries: Arroseur et arrosé. 7. Arroseur arrosé / The Sprinkled Sprinkler (99)

Partie d’écarté. Vue N° 73. “Trois personnes sont installées autour d’une table et deux d’entre elles font une partie d’écarté ; quand la partie est terminée, un domestique sert à boire.” - Dans le Catalogue des vues - Première Liste qu"il a remis à Georges Sadoul en 1946, Louis Lumière a annoté les vues qu"il s"attribuait dont celle-ci.- Cette vue a été tournée lors d"un séjour de Félicien Trewey à La Ciotat, au début de l"année 1896 (cf. n° 213, 405 à 410). Opérateur: Louis Lumière. Date: [16 janvier 1896] - [9 février 1896]. Lieu: France, La Ciotat, maison Lumière du Clos des Plages. Personnes: De gauche à droite : Antoine Lumière, Alphonse Winckler, Antoine Féraud, et Félicien Trewey. Projections: Projetée le 20 février 1896 au Polytechnic Institution à Londres (Grande-Bretagne) (British Journal of Photography, supplément mensuel, 6 mars 1896).Programmée le 23 février 1896 à Lyon (France) sous le titre Une partie d"écarté (Lyon républicain, 23 février 1896). Eléments filmiques: 4 copies Lumière. Pays: France. Ville: La Ciotat. Lieu: domicile. Personnes identifiées: Alphonse Winckler, Antoine Féraud, Antoine Lumière, Félicien Trewey. Genre: distraction, famille, vue comique. Objet: instrument de jeu. Séries: Au Clos des Plages. 8. Partie d’écarté / A Game of Cards / A Game of Écarté (73)

Arrivée d’un train à La Ciotat. Vue N° 653. “Un train entre en gare, s’arrête et de nombreux voyageurs descendent des wagons, pendant que d’autres y montent.” La période de tournage a été attribuée en fonction de l’âge des enfants Lumière présents dans cette vue. Deux autres versions non cataloguées ont été tournées, probablement par Louis Lumière, sur le même quai. La première est antérieure à la vue n° 741. Elle est tournée au début de l’année 1896 car une reproduction de 32 photogrammes illustre un article intitulé Le Cinématographe (in La Science française, Paris, n° 59, 13 mars 1896, p. 89). C’est peut-être cette version qui est projetée le 25 janvier 1896 à Lyon (France) sous le titre L’Arrivée en gare d’un chemin de fer (Lyon républicain, 26 janvier 1896). La deuxième vue non cataloguée pourrait être une autre prise de la vue n° 741 en raison de la végétation identique mais ce détail ne rensei ne pas sur l’année de tournage. Some explanations about the different versions of this sequence, based on the research by historians Michelle Aubert & Jean-Claude Seguin. – There is one version of the « train arrival » in the commercial catalogue, number 653 (nr 741 in the numbering used by Aubert & Seguin). It was shot in summer 1897, according to the age of the children seen in the film (Joséphine Lumière). – There are two other versions, « non cataloguées » (not in the commercial catalogue), that have been found in the Lumière archive by the historians. – One of those versions was shot in early 1896, as there were 32 stills used in a newspaper article about Le Cinématographe (published in La Science française, Paris, nr 59, March 13 1896, p. 89). Possibly, this version was screened January 25 1896 in Lyon. – The other unnumbered version was possibly an alternate shot of number 653, as the vegetation looks similar. Opérateur: Louis Lumière. Date: [été 1897]. Lieu: France, La Ciotat, gare. Personnes: En bord cadre droit, Jeanne-Joséphine Lumière, avec une pèlerine écossaise. Projections: Programmée le 10 octobre 1897 à Lyon (France) sous le titre de Arrivée d"un train à La Ciotat (Lyon républicain, 11 octobre 1897).Déposée au Greffe du Conseil des Prud"hommes de Lyon le 22 octobre 1897. Eléments filmiques: négatif Lumière - 3 copies Lumière - 1 copie Edison. Pays: France. Ville: La Ciotat. Lieu: gare. Personnes identifiées: Joséphine Lumière, Madeleine Koehler, Marcel Koehler, Marguerite Lumière, Rose Lumière, Suzanne Lumière. Genre: villes et paysages. Sujet: enfant. Objet: train. 9. Arrivée du train en gare de La Ciotat / The Arrival of a Train at La Ciotat Station (653)

Démolition d’un mur, II. Vue N° 40,2. “La scène représente la chute d’un pan de mur dans une usine.”Trois ouvriers démolissent un mur en présence d’Auguste Lumière. Titre issu du Catalogue des vues - Première Liste. Dans ce catalogue qu"il a remis à Georges Sadoul en 1946, Louis Lumière a annoté les vues qu"il s"attribuait dont celle-ci. En raison de l"existence de deux versions, il n"est pas possible de savoir laquelle est tournée par Louis Lumière. Opérateur: [Louis Lumière]. Date: [1896] - [6 mars 1896]. Lieu: France, Lyon, Monplaisir, usine Lumière. Personnes: Auguste Lumière (de dos, au centre). Projections: Projection d"une vue de démolition le 6 mars 1896 au Photo-Club à Lyon (France) (Lyon républicain, 7 mars 1896). Eléments filmiques: négatif Lumière - 6 copies Lumière. Pays: France. Ville: Lyon. Lieu: chantier, usine. Personnes identifiées: Auguste Lumière. Genre: travail. Sujet: ouvrier. Objet: machine et outil. Séries: info-five-68. 10A. Démolition d’un mur (à l’endroit) / Demolition of a Wall [straight] (40) 10B. Démolition d’un mur (à l’envers) / Demolition of a Wall [reverse] (40) II Lyon, ville des Lumière / Lyon, the City of the Lumières

Panorama de l’arrivée en gare de Perrache pris du train. Vue N° 130. Panorama de la ville puis de la gare. Opérateur: inconnu. Date: [25 octobre 1896] - 8 novembre 1896. Lieu: France, Lyon. Projections: Programmée le 8 novembre 1896 à Lyon (France) sous le titre Panorama d"un train arrivant à Perrache (Lyon républicain, 8 novembre 1896). Technique: Travelling latéral de gauche à droite. Eléments filmiques: négatif Lumière - 5 copies Lumière. Pays: France. Ville: Lyon. Lieu: gare, pont. Genre: villes et paysages. Objet: train. 11. Panorama de l’arrivée en gare de Perrache pris du train / A Tracking Shot Taken on a Train Arriving at the Perrache Station (130)

Arrivée d’un train à Perrache. Vue N° 127. Sur le quai, les passagers attendent le train qui entre en gare. Des employés ouvrent les portes : les gens sur le quai s’approchent des voitures, tandis que d’autres en descendent. Une autre prise non cataloguée tournée au même moment représente une autre arrivée de train. Opérateur: inconnu. Date: [1896] - 23 mars 1896. Lieu: France, Lyon, gare de Perrache. Projections: Projetée le 23 mars à Reims (France) (Le Courrier de l"Aisne, 23 et 24 mars 1896).Programmée le 23 août 1896 à Lyon (France) sous le titre Lyon : arrivée d"un train à Perrache (Lyon républicain, 23 août 1896). Eléments filmiques: négatif Lumière - 2 copies Lumière. Pays: France. Ville: Lyon. Lieu: gare. Genre: villes et paysages. Objet: train<./td> 12. Arrivée d’un train à Perrache / The Arrival of a Train to Perrache (127)

Place des Cordeliers. Vue N° 128. Circulation des piétons et de divers véhicules le long de cette place. - Dans le Catalogue des vues - Première Liste qu"il a remis à Georges Sadoul en 1946, Louis Lumière a annoté les vues qu"il s"attribuait dont celle-ci.- Cette vue a été datée grâce à l"étude des ombres architecturales (cf. le chapitre L"année 1895 et ses jalons).- Une autre vue non cataloguée a été tournée plus tard et représente la circulation de tramways électriques.- Il faut préciser que c"est avec cette vue qu"un spectateur s"est effrayé et non avec une “arrivée de train”, absente de toutes les projections organisées en 1895. Opérateur: Louis Lumière. Date: [10 mai 1895]. Lieu: France, Lyon, place des Cordeliers. Projections: Projetée le 10 juin 1895 à Lyon (France) (Lyon républicain, 11 juin 1895). Eléments filmiques: négatif Lumière - 3 copies Lumière. Pays: France. Ville: Lyon. Lieu: place, ville. Genre: villes et paysages. Objet: voiture hippomobile. 13. Place des Cordeliers (128)

Place Bellecour. Vue N° 129. Circulation des piétons et de divers véhicules sur la place. - Dans le Catalogue des vues - Première Liste qu"il a remis à Georges Sadoul en 1946, Louis Lumière a annoté les vues qu"il s"attribuait dont celle-ci.- Il n"existe aucun élément filmique original de cette vue. Il n"a donc pas été possible de vérifier la forme originelle des photogrammes afin de savoir si cette vue a été tournée en 1895 ou plus tard. Le titre “place Bellecour” donné par un chroniqueur dès 1895, semble de toute manière erroné dans la mesure où la description qu"il donne de cette projection correspond à la vue Place des Cordeliers (n° 749) : “Sur un vaste écran, une photographie est projetée par la lumière électrique, de manière à donner l"illusion de la grandeur naturelle. Nous avons vu successivement passer le spectacle de la place Bellecour, avec les tramways qui s"arrêtent, les voyageurs qui descendent et montent, les camions d"abord tout petits dans le lointain qui s"avancent en grandissant jusque devant le spectateur.” (La Poste, Paris, 17 novembre 1895). Opérateur: Louis Lumière. Date: [printemps 1896] - 14 juin 1896. Lieu: France, Lyon, place Bellecour. Projections: Projetée le 14 juin 1896 à Lyon (France) sous le titre La Place Bellecour (Le Progrès, 14 juin 1896).Projection de La Pluie (Place Bellecour à Lyon) le 5 juillet 1896 à Mâcon (France) (Le Journal de Saône et Loire, 5 juillet 1896). Technique: Plongée. Eléments filmiques: 1 contretype standard. Pays: France. Ville: Lyon. Lieu: place, ville. Genre: villes et paysages. Objet: tramway hippomobile et omnibus, voiture hippomobile. 14. Place Bellecour (129)

Lyon : quai de l’Archevêché. Vue N° 158. Passage d’une calèche sur la chaussée inondée. Opérateur: inconnu. Date: 1er novembre 1896 - 8 novembre 1896. Lieu: France, Lyon, quai de l"Archevêché (aujourd"hui quai Romain Rolland). Projections: Programmée le 8 novembre 1896 à Lyon (France) sous le titre Les Inondations de la Saône : 1° Quai de l"Archevêché (Lyon républicain, 8 novembre 1896). Eléments filmiques: négatif Lumière - 1 copie Edison. Pays: France. Ville: Lyon. Lieu: rue, ville. Evénement: inondation. Genre: villes et paysages. Objet: voiture hippomobile. Séries: Lyon - Mâcon : inondations de la Saône. 15. Quai de l’Archevêché (158)

Lyon : la place du Pont. Vue N° 1126. Circulation des piétons, charrettes et tramways sur la place. Opérateur: inconnu. Date: [1897] - 29 avril 1900. Lieu: France, Lyon, place du Pont. Projections: Programmée le 29 avril 1900 à Lyon (France) sous le titre Place du pont à Lyon (Le Progrès, 29 avril 1900). Technique: Travelling avant. Eléments filmiques: négatif Lumière - 1 copie Edison. Pays: France. Ville: Lyon. Lieu: place, ville. Genre: villes et paysages. Objet: tramway électrique, voiture hippomobile. 16. Place du Pont (1126)

Concours de boules. Vue N° 27. “Le jeu de boules est très populaire à Lyon ; la scène représente un concours de boules ouvert entre les meilleurs joueurs.”Lors d’un concours de boules, les joueurs se donnent en spectacle en tirant à qui mieux mieux. Les joueurs sont ici davantage en train de se donner en spectacle au Cinématographe plutôt que se livrer au concours de boules proprement dit. Opérateur: inconnu. Date: 24 mai 1896 - 26 mai 1896. Lieu: France, Lyon, cours du Midi (aujourd"hui cours de Verdun). Projections: Programmée le 31 mai 1896 à Lyon (France) sous le titre Le Concours de boules (Lyon républicain, 31 mai 1896). Eléments filmiques: négatif Lumière - 1 copie Lumière. Pays: France. Ville: Lyon. Lieu: place, ville. Événement: compétition. Genre: distraction. Objet: instrument de jeu. 17. Concours de boules / A Contest of Boules (27) III Enfances / Childhoods

La petite fille et son chat. Vue N° 1100. “Une petite fille est installée près d’une table à côté d’un gros chat auquel elle montre des morceaux de viande que celui-ci cherche à saisir.” La datation de cette vue est établie en fonction de l"âge approximatif de Madeleine Koehler. Opérateur: inconnu. Date: [1900] - mai 1900. Lieu: France, Lyon, Monplaisir, maison Koehler. Personnes: Madeleine Koehler. Projections: Annoncée à la vente au mois de mai 1900 dans une liste de vues pour Kinora sous son titre et son numéro originel (La Mise au point, 4e année, n° 6, mai 1900). Eléments filmiques: négatif Lumière - 3 copies Lumière. Pays: France. Ville: Lyon. Lieu: domicile, jardin. Personnes identifiées: Madeleine Koehler. Sujet: animal, enfant. Séries: À Monplaisir. 18. La petite fille et son chat / A Little Girl and Her Cat (1100)

[Premiers pas de bébé] (hors catalogue). 19. [Premiers pas de bébé] / [The First Steps of a Baby] (hors catalogue)

Pêche aux poissons rouges. Vue N° 369. “Un bébé, auprès d’un bocal renfermant des poissons rouges, cherche vainement à les atteindre et à les prendre dans la main.”Tenue par un homme (Auguste Lumière), un enfant (Andrée Lumière) cherche vainement à attraper les poissons dans le bocal avec sa main. - Dans le Catalogue des vues - Première Liste qu"il a remis à Georges Sadoul en 1946, Louis Lumière a annoté les vues qu"il s"attribuait dont celle-ci.- Voir aussi le chapitre L"année 1895 et ses jalons. Opérateur: Louis Lumière. Date: [22 mars 1895] - 10 juin 1895. Lieu: France, Lyon, Monplaisir, maison Lumière. Personnes: Andrée Lumière et son père Auguste Lumière. Projections: Projetée le 10 juin 1895 à Lyon (France) (Bulletin de la Société française de photographie, 2e série, Tome XI, n° 16, 1895, p. 396). Eléments filmiques: négatif Lumière - 2 copies Lumière. Pays: France. Ville: Lyon. Lieu: domicile. Personnes identifiées: Andrée Lumière, Auguste Lumière. Genre: famille. Sujet: animal, enfant. Séries: À Monplaisir. NB. Wrong image in Catalogue Lumière. This is the correct one. 20. Pêche aux poissons rouges / Fishing Goldfish (369)

Petit frère et petite soeur. Vue N° 658. “Un petit garçon et une petite fille dansent ensemble dans un bosquet.” Opérateur: [Lumière]. Date: [été 1897]. Lieu: France, Lyon, Monplaisir, maison Koehler. Personnes: Marcel Koehler à gauche et sa petite soeur Madeleine. Projections: Programmée le 10 octobre 1897 à Lyon (France) sous le titre Le Petit Frère et la petite soeur (Le Courrier de Lyon, 10 octobre 1897). Eléments filmiques: négatif Lumière - 1 copie Lumière. Pays: France. Ville: Lyon. Lieu: domicile, jardin. Personnes identifiées: Madeleine Koehler, Marcel Koehler. Genre: distraction. Sujet: enfant. Objet: instrument de jeu. Séries: À Monplaisir. 21. Petit frère et petite sœur / A Little Brother and a Little Sister (658)

Enfants pêchant des crevettes. Vue N° 45. “Des enfants traînent leurs filets sur la plage à mer basse : les fillettes, les jupes relevées, rivalisent d’entrain avec les garçons dans cet exercice.” - Un des personnages porte un panier sur lequel est inscrit “Shrimp” [crevette].- Une vue supplémentaire et non cataloguée représente le même sujet. Opérateur: [Alexandre Promio]. Date: [juillet 1896] - [9 août 1896]. Lieu: [Grande-Bretagne]. Projections: Programmée le 7 novembre 1896 à Nîmes (France) sous le titre Les Pêcheuses de crevettes (La Chronique mondaine, littéraire et artistique, 7 novembre 1896).Programmation d"Enfants s"amusant sur la plage le 20 septembre 1896 à Lyon (France) (Lyon républicain, 20 septembre 1896). Eléments filmiques: négatif Lumière - 3 copies Lumière. Pays: Grande-Bretagne. Lieu: plage. Genre: distraction. Sujet: enfant. Séries: Premier séjour d"Alexandre Promio (1896). 22. Enfants pêchant de crevettes / Children Catching Shrimp (45)

Le goûter des bébés. Vue N° 654. “Trois enfants, un petit garçon placé entre deux petites filles, sont installés à une table pour un goûter ; le petit garçon distribue des fruits à ses deux compagnes plus petites que lui.” Opérateur: [Lumière]. Date: [été 1897]. Lieu: France, La Ciotat, maison Lumière du Clos des Plages. Personnes: De gauche à droite : Madeleine Koehler, son frère Marcel et Suzanne Lumière. Projections: Programmée le 24 octobre 1897 à Lyon (France) sous le titre Goûter de bébé (Lyon républicain, 24 octobre 1897) et le 26 octobre 1897 sous le titre Goûter de bébés (Le Courrier de Lyon, 26 octobre 1897). Eléments filmiques: négatif Lumière - 2 copies Lumière. Pays: France. Ville: La Ciotat. Lieu: domicile. Personnes identifiées: Madeleine Koehler, Marcel Koehler, Suzanne Lumière. Genre: famille. Sujet: enfant. Séries: Au Clos des Plages. 23. Le Goûter des bébés / Snacks for Babies (654)

Baignade en mer. Vue N° 11. Des enfants se jettent à plusieurs reprises dans les vagues en sautant d’un plongeoir. - Titre issu du Catalogue des vues - Première Liste.- Voir aussi le chapitre L"année 1895 et ses jalons. Opérateur: Louis Lumière. Date: [11 juillet 1895] - 21 septembre 1895. Lieu: France, La Ciotat. Projections: Projetée le 21 septembre 1895 à La Ciotat, Le Clos des Plages (France), sous le titre Baignades à La Ciotat (Le Petit Marseillais, 24 septembre 1895). Eléments filmiques: négatif Lumière - 1 contretype Lumière - 4 copies Lumière. Pays: France. Ville: La Ciotat. Lieu: plage. Genre: distraction. Sujet: enfant. Séries: Au Clos des Plages. 24. Baignade en mer / Swimming in the Sea (11)

Enfants jouant aux billes. Vue N° 50. “Partie de billes entre quatre ou cinq garçons.” Opérateur: inconnu. Date: [1896] - 4 octobre 1896. Lieu: [France]. Projections: Programmée le 4 octobre 1896 à Lyon (France) sous le titre Gamins jouant aux billes (Lyon républicain, 4 octobre 1896). Eléments filmiques: négatif Lumière - 2 copies Lumière. Pays: France. Lieu: parc. Genre: distraction. Sujet: enfant. Objet: instrument de jeu. 25. Enfants jouant aux billes / Boys Playing with Marbles (50)

Défilé de voitures de bébés à la Pouponnière de Paris. Vue N° 1099. “Des voitures renfermant chacune un bébé défilent dans une promenade ; d’autres enfants plus grands défilent à pied.” - Graphie originelle du titre : Défilé de voitures de bébés à la Pouponière de Paris.- Deux autres vues non cataloguées tournées à la pouponnière existent sous forme de fragments et représentent “Les ébats des poupons sur l"herbe” et “La visite du docteur”. Opérateur: inconnu. Date: [1897] - 27 novembre 1899. Lieu: France, Porchefontaine, Pouponnière de Paris (aujourd"hui Centre maternel départemental de Porchefontaine). Projections: Programmée le 27 novembre 1899 à Lyon (France) sous le titre Pouponnière à Paris : défilé de voitures de bébé (Le Progrès, 27 novembre 1899). Eléments filmiques: négatif Lumière. Pays: France. Ville: ville-143. Lieu: jardin. Genre: villes et paysages. Sujet: enfant. 26. Défilé de voitures de bébés à la pouponnière de Paris / Baby Cart Parade at the Nursery of Paris (1099) IV La France qui travaille / France at Work

Ateliers de La Ciotat. Vue N° 2. Des ouvriers travaillent dans un chantier naval. Opérateur: [Lumière]. Date: [16 janvier 1896] - 22 mars 1896. Lieu: France, La Ciotat, chantier naval des Messageries maritimes. Projections: Programmée le 22 mars 1896 à Lyon (France) sous le titre Les Ateliers des Messageries maritimes (Lyon républicain, 22 mars 1896). Eléments filmiques: négatif Lumière - 1 copie Lumière - 1 copie Edison. Pays: France. Ville: La Ciotat. Lieu: chantier. Genre: travail. Sujet: ouvrier. Objet: machine et outil. Séries: info-five-69. 27. Ateliers de La Ciotat / La Ciotat Shipyard (2)

Chaudière. Vue N° 20. Louis Lumière, La Ciotat, 1896. 28. Chaudière / A Boiler (20)

Ouvriers réparant un trottoir en bitume. Vue N° 833. Au milieu d’un intense dégagement de vapeur, des ouvriers étalent du bitume sur la chaussée. Titre issu du Catalogue des vues - Sixième Liste. Opérateur: inconnu. Date: [1897] - 6 mars 1898. Lieu: [France]. Projections: Programmée le 6 mars 1898 à Lyon (France) sous son titre (Lyon républicain du 6 mars 1898). Eléments filmiques: négatif Lumière. Pays: France. Lieu: chantier, rue, ville. Genre: travail. Sujet: ouvrier. Objet: machine et outil. 29. Ouvriers réparant un trottoir en bitume / Workers Repairing an Asphalt Sidewalk (833)

Défournage du coke. Vue N° 122. Sur le plateau de défournement, le coke brûlant est poussé hors du four. Des ouvriers l’éteignent au jet d’eau et le mettent en morceaux. Sur le ponton des fours, d’autres ouvriers avancent des wagonnets. Opérateur: inconnu. Date: [25 janvier 1896] - 12 juillet 1896. Lieu: France, Carmaux, cokerie (aujourd"hui détruite). Projections: Projection de vue de Carmaux le 12 juillet 1896 à Toulouse (France) (Le Messager de Toulouse, 12 juillet 1896).Programmée le 19 juillet 1896 à Lyon (France) sous le titre Carmaux : défournage du Coke (Lyon républicain, 19 juillet 1896). Eléments filmiques: négatif Lumière - 4 copies Lumière. Pays: France. Ville: Carmaux. Lieu: chantier, usine. Genre: travail. Sujet: ouvrier. Objet: machine et outil. Séries: info-five-70. 30. Carmaux : Défournage du coke / Defrosting Coke (122)

Laveuses sur la rivière. Vue N° 626. Des femmes lavent du linge dans un lavoir, sur le bord d’une rivière. Opérateur: inconnu. Date: [printemps 1896] - 22 octobre 1897. Lieu: [France]. Projections: Déposée au Greffe du Conseil des Prud"hommes de la Ville de Lyon le 22 octobre 1897.Programmée le 14 avril 1900 à Lyon (France) sous le titre Sur le bord de la rivière : laveuses (Le Progrès, 15 avril 1900). Eléments filmiques: négatif Lumière - 1 copie Lumière - 1 copie Edison. Pays: France. Lieu: cours d’eau. Genre: travail, villes et paysages. Objet: voiture hippomobile. 31. Laveuses sur la rivière / Washerwomen on the River (626)

Pêche aux sardines. Vue N° 70. “De retour de la pêche, les pêcheurs, dans la barque, retirent les sardines prises dans le filet.” Opérateur: [Lumière]. Date: [16 janvier 1896] - 25 avril 1896. Lieu: France, port méditerranéen. Projections: Programmée le 25 avril 1896 à Rouen (France) sous le titre Pêcheurs (Le Nouvelliste de Rouen, 25 avril 1896). Eléments filmiques: négatif Lumière - 1 copie Lumière. Pays: France. Lieu: port. Genre: travail. Sujet: pêcheur. Objet: bateau. Séries: infofive-69. 32. Pêche aux sardines / Sardine Fishing (70)

Paris : les pompiers, I. Passage des pompes. Vue N° 778. “La vue représente une rue de Paris le long de laquelle descendent les pompes traînées par des chevaux ; la foule suit en masse.Ces cinq vues [cf. n° 1016 à 1020] ont été prises à Paris.” Opérateur: inconnu. Date: [1896] - [28 novembre 1897]. Lieu: France, Paris. Projections: Programmation de Paris : les pompiers le 28 novembre 1897 à Lyon (France) (Lyon républicain, 28 novembre 1897). Eléments filmiques: négatif Lumière - 2 copies Edison. Pays: France. Ville: Paris. Lieu: rue, ville. Genre: militaire. Sujet: acrobate et équilibriste, clown. Objet: machine et outil, voiture hippomobile. Séries: info-five-126. 33. Les Pompiers, I : passage des pompes / The Firemen I: Moving the Pumps (778)

Attelage d’un camion. Vue N° 627. “Plusieurs chevaux traînent péniblement, dans une rue montante, un camion lourdement chargé.” Opérateur: inconnu. Date: [printemps 1896] - [27 novembre 1897]. Lieu: France. Projections: Programmée le 9 juillet 1899 à Lyon (France) sous son titre (Le Progrès, 11 juillet 1899). Eléments filmiques: négatif Lumière - 1 copie Edison. Pays: France. Lieu: rue, ville. Genre: travail. Sujet: animal. Objet: voiture hippomobile. 34. Attelage d"un camion / Towing a Heavy Load (627) V La France qui s’amuse / France at Play

Voltige. Vue N° 194. Des soldats exécutent les uns après les autres un exercice de voltige qui consiste à se mettre debout sur un cheval. Une première version de ce titre, non cataloguée, a été tournée en 1895 (cf. chapitre L"année 1895 et ses jalons). Elle est présentée les 10 et 12 juin 1895 à Lyon : “Nous avons vu : [.] le même « bleu » commettre maintes bévues et faire les chutes les plus drolatiques, en apprenant à monter à cheval sous la surveillance d"un sous-officier qui se moque de lui.” (Le Progrès, 13 juin 1895). Opérateur: inconnu. Date: [printemps 1896] - [1er mai 1897]. Lieu: France, Lyon, [casernes de la Part-Dieu]. Eléments filmiques: négatif Lumière - 1 copie Lumière - 1 copie Edison. Pays: France. Ville: Lyon. Lieu: caserne. Genre: militaire. Sujet: soldat. Séries: info-five-72. 35. Voltige / Vaulting (194)

Saut à la couverte. Vue N° 192. Des soldats font sauter un des leurs à la couverte. Une première version de ce titre, non cataloguée, a été tournée en 1895 (cf. chapitre L"année 1895 et ses jalons). Elle est présentée le 12 juin 1895 à Lyon “Nous avons vu un « bleu » passer « à la couverte ».” (Le Progrès, 13 juin 1895). Opérateur: inconnu. Date: [printemps 1896] - [1er mai 1897]. Lieu: France, Lyon, [casernes de la Part-Dieu]. Eléments filmiques: négatif Lumière - 2 copies Lumière. Pays: France. Ville: Lyon. Lieu: caserne. Genre: militaire. Sujet: soldat. Séries: info-five-72. 36. Saut à la couverte / Jumps on a Rescue Blanket 192)

Bains sur la Saône. Vue N° 562. Des garçons plongent dans l’eau depuis un ponton. En 1883, un arrêté préfectoral interdit la baignade dans la Saône sur les deux rives depuis les limites de la ville de Lyon en amont jusqu"au pont de la Mulatière en aval. Toutefois cette interdiction ne s"étend pas aux bains publics et aux écoles de natation. Les pontons de ces écoles deviennent donc les seuls endroits autorisés et portent le nom de “bêches” lyonnaises. Opérateur: inconnu. Date: [printemps 1897] - [20 juin 1897]. Lieu: France, Lyon, la Saône. Projections: Programmation de Les Bêches lyonnaises le 20 juin 1897 à Lyon (France) (Lyon républicain, 20 juin 1897).Programmée le 21 janvier 1900 à Lyon (France) sous le titre Radeau avec baigneurs sur la Saône (Le Progrès, 21 janvier 1900). Eléments filmiques: négatif Lumière. Pays: France. Ville: Lyon. Lieu: cours d’eau. Genre: distraction. Sujet: enfant. Objet: bateau. 37. Bains sur la Saône / Swimming in the Saône (562)

Départ de cyclistes. Vue N° 33. “La scène représente un concours de bicyclettes au moment du départ.”Départ des cyclistes pour la course Lyon-Genève. Opérateur: [Lumière]. Date: 12 juillet 1896. Lieu: France, Lyon, [route d"Ambérieu]. Projections: Programmée le 24 juillet 1896 à Lyon (France) sous son titre (Lyon républicain, 24 juillet 1896). Eléments filmiques: négatif Lumière - 1 copie Lumière - 1 copie Edison. Pays: France. Ville: Lyon. Lieu: rue, ville. Événement: compétition. Genre: sport. Objet: bicyclette. Séries: Départ de cyclistes, info-five-53. 38. Départ de cyclistes / The Departure of the Cyclists (33)

Course en sacs. Vue N° 109. “Des jeunes gens font une course en sacs entre deux haies de spectateurs qui s’égayent fort des chutes et des péripéties diverses de cette lutte amusante.” - Dans le Catalogue des vues - Première Liste qu"il a remis à Georges Sadoul en 1946, Louis Lumière a annoté les vues qu"il s"attribuait dont celle-ci.- Il existe un remake non catalogué, comportant plusieurs arrêts caméra, tourné au même moment que les vues n° 588 et n° 589. Opérateur: Louis Lumière. Date: [automne 1896] - 25 octobre 1896. Lieu: France, Lyon, Monplaisir. Personnes: Les ouvriers de l"usine Lumière. Projections: Projetée le 25 octobre 1896 à Boulogne-sur-Mer (France) sous le titre La Course en sac (L"Impartial, 28 octobre 1896). Eléments filmiques: négatif Lumière - 1 copie Edison. Pays: France. Ville: Lyon. Lieu: rue, ville. Genre: distraction. Objet: instrument de jeu. 39. Course en sacs / Sack Jumping (109)

Partie de boules. Vue N° 72. Partie de boules en famille et discussion à propos du gain de la partie. Opérateur: [Louis Lumière]. Date: [16 janvier 1896] - [13 avril 1896]. Lieu: France, La Ciotat, maison Lumière du Clos des Plages. Personnes: De gauche à droite : Pierre Bellingard, probablement André Honnorat, CharlesAlbert Winckler, un homme accroupi qui reste inconnu, Lazare Sellier, et Juliette Winckler (avec un col en dentelle blanc). Projections: Programmée le 18 avril 1896 à Lyon (France) sous le titre Une partie de boules (Le Progrès, 18 avril 1896). Eléments filmiques: négatif Lumière - 2 copies Lumière. Pays: France. Ville: La Ciotat. Lieu: domicile. Personnes identifiées: André Honnorat, Charles-Albert Winckler, Juliette Winckler, Lazare Sellier, Marguerite Lumière, Pierre Bellingard, Rose Lumière. Genre: distraction, famille. Objet: instrument de jeu. Séries: Au Clos des Plages. 40. Partie de boules / A Game of Boules (72)

Partie de tric-trac. Vue N° 74. Deux personnes font une partie de trictrac tandis que d’autres les observent. Le joueur triche, sa partenaire proteste : l’homme referme le boîtier du jeu. Dans le Catalogue des vues - Première Liste qu"il a remis à Georges Sadoul en 1946, Louis Lumière a annoté les vues qu"il s"attribuait dont celle-ci. Opérateur: Louis Lumière. Date: [16 janvier 1896] - 13 avril 1896. Lieu: France, La Ciotat, maison Lumière du Clos des Plages. Personnes: De gauche à droite : Rose Lumière, Juliette Winckler, Pierre Bellingard, Antoine Féraud, Charles-Albert Winckler, Marguerite Lumière et Lazare Sellier. Projections: Programmée le 13 avril 1896 à Marseille (France) sous le titre Une partie de tric-trac (Le Petit Marseillais, 13 avril 1896). Eléments filmiques: 2 copies Lumière. Pays: France. Ville: La Ciotat. Lieu: domicile. Personnes identifiées: Antoine Féraud, Charles-Albert Winckler, Juliette Winckler, Lazare Sellier, Marguerite Lumière, Pierre Bellingard, Rose Lumière. Genre: distraction, famille, vue comique. Objet: instrument de jeu. Séries: Au Clos des Plages. 41. Partie de tric trac / A Game of Backgammon (74)

Départ en voiture. Vue N° 32. Trois femmes s’installent dans une voiture, les serviteurs montent les bagages sur le toit, le véhicule s’éloigne. Dans le Catalogue des vues - Première Liste qu"il a remis à Georges Sadoul en 1946, Louis Lumière a annoté les vues qu"il s"attribuait dont celle-ci. Opérateur: Louis Lumière. Date: [16 janvier 1896] - 25 avril 1896. Lieu: France, La Ciotat, Clos des Plages. Personnes: De gauche à droite : Antoine Féraud (de dos), Antoine Lumière (de dos), Marguerite Lumière (en robe sombre), Rose Lumière (en robe claire) et probablement André Honnorat. Projections: Programmée le 25 avril 1896 à Rouen (France) sous le titre Le Départ en voiture (Le Petit Rouennais, 26 avril 1896). Eléments filmiques: négatif Lumière. Pays: France. Ville: La Ciotat. Lieu: domicile. Personnes identifiées: André Honnorat, Antoine Féraud, Antoine Lumière, Jeanne Koehler, Madeleine Koehler, Marguerite Lumière, Rose Lumière. Genre: famille. Sujet: enfant. Objet: voiture hippomobile. Séries: Au Clos des Plages. 42. Départ en voiture / Departure on a Carriage (32)

Chamonix : la mer de glace. Descente. Vue N° 1207. “Ces deux vues [cf. n° 814 et 815] représentent des touristes escaladant les séracs de la mer de glace.” Opérateur: inconnu. Date: [25 mai 1899] - [15 avril 1900]. Lieu: France, Chamonix, la Mer de glace. Eléments filmiques: négatif Lumière. Pays: France. Ville: Chamonix. Lieu: montagne. Genre: distraction, villes et paysages. Séries: La mer de glace, Les régions françaises à l"Exposition universelle. 43. Chamonix, la mer de glace : Descente / The Valley Glacier at Chamonix: Descent (1207)

V. Pyramide. Vue N° 1044. “Ces équilibristes biens connus ont eu à Paris un très grand succès. Les scènes [cf. n° 383 à 388] sont exécutées en plein air ; leurs titres sont suffisamment explicatifs.” Opérateur: inconnu. Date: [30 mai 1899] - 14 juillet 1899. Lieu: France, Paris. Projections: Programmée le 14 juillet 1899 à Lyon (France) sous le titre Les Krémo à Paris (acrobates) : pyramide (Le Progrès, 16 juillet 1899). Eléments filmiques: négatif Lumière - 1 copie Lumière. Pays: France. Ville: Paris. Genre: spectacle. Sujet: acrobate et équilibriste, enfant. Séries: info-five-30, Les Kremo. 44. Les Kremo: Pyramide / The Kremo Family: the Pyramid (1044)

I. Sauts périlleux. Vue N° 1040. “Ces équilibristes biens connus ont eu à Paris un très grand succès. Les scènes [cf. n° 383 à 388] sont exécutées en plein air ; leurs titres sont suffisamment explicatifs.” Opérateur: inconnu. Date: [30 mai 1899] - 14 juillet 1899. Lieu: France, Paris. Projections: Programmée le 6 août 1899 à Lyon (France) sous le titre Paris : les Krémo, équilibre et sauts périlleux (Le Progrès, 6 août 1899). Eléments filmiques: négatif Lumière - 1 copie Lumière. Pays: France. Ville: Paris. Genre: spectacle. Sujet: acrobate et équilibriste, enfant. Séries: info-five-30, Les Kremo. 45. Les Kremo: Sauts périlleux / The Kremo Family: Perilous Jumps (1040) VI Paris

Panorama pendant l’ascension de la tour Eiffel. Vue N° 992. Panorama du palais du Trocadéro pris depuis un ascenseur de la tour Eiffel, dont on aperçoit la structure au premier plan. Opérateur: inconnu. Date: [1897] - 27 novembre 1898. Lieu: France, Paris, tour Eiffel. Projections: Programmée le 27 novembre 1898 à Lyon (France) sous le titre Montée dans la tour Eiffel (Lyon républicain, 27 novembre 1898). Technique: Travelling ascendant - 2 plans par collure - Plongée. Eléments filmiques: négatif Lumière. Pays: France. Ville: Paris. Genre: villes et paysages. 46. Panorama pendant l"ascension de La Tour Eiffel / A Tracking Shot from the Elevator to the Eiffel Tower (992)

Bassin des Tuileries. Vue N° 150. Des enfants jouent à pousser leur voilier sur l’eau du bassin. Opérateur: inconnu. Date: [1896] - 5 avril 1896. Lieu: France, Paris, jardin des Tuileries. Projections: Programmée le 5 avril 1896 à Lyon (France) sous le titre Le Bassin des Tuileries à Paris (Lyon républicain, 5 avril 1896). Eléments filmiques: négatif Lumière - 2 copies Lumière. Pays: France. Ville: Paris. Lieu: parc. Genre: distraction, villes et paysages. Sujet: enfant. Objet: instrument de jeu. 47. Bassin des Tuileries / The Basin of Tuileries (150)

Le retour. Aux Champs-Élysées. Vue N° 1020. “Ces trois vues [cf. n° 636 à 638] représentent le défilé des voitures au trot.” Opérateur: inconnu. Date: 11 juin 1899. Lieu: France, Paris. Projections: Programmation de Paris : retour du grand Prix le 15 avril 1900 à Lyon (France) (Le Progrès, 15 avril 1900). Eléments filmiques: négatif Lumière - 1 copie Lumière. Pays: France. Ville: Paris. Lieu: rue, ville. Événement: fête. Genre: distraction. Objet: voiture hippomobile. Séries: Le Grand Prix à Paris. 48. Le Retour. Aux Champs-Elysées / Return from the Horse Races: at Champs-Élysées (1020)

Panorama des rives de la Seine, [IV]. Vue N° 687. “Ces quatre vues [cf. n° 794 à 797] ont été prises en bateau-mouche ; elles représentent les parties les plus intéressantes de la traversée de Paris.”Panorama des quais de la Seine à proximité de la tour Eiffel. Opérateur: inconnu. Date: [25 octobre 1896] - [7 novembre 1897]. Lieu: France, Paris, quai de Grenelle, la Seine. Projections: Programmation de Panorama del Sena [Panorama de la Seine] le 13 mars 1898 à Barcelone (Espagne) (Diario de Barcelona de avisos y noticias, 13 mars 1898). Technique: Travelling latéral de gauche à droite. Eléments filmiques: négatif Lumière. Pays: France. Ville: Paris. Lieu: cours d’eau. Genre: villes et paysages. Objet: bateau. 49. Panorama des rives de la Seine, IV / A Tracking Shot on the Shores of the Seine IV (687)

Les escaliers du pont de l’Alma. Vue N° 1172. Circulation des visiteurs sur les escaliers du pont de l’Alma. Opérateur: inconnu. Date: 15 avril 1900 - 8 juillet 1900. Lieu: France, Paris, Exposition universelle 1900, quai Debilly. Projections: Programmée le 8 juillet 1900 à Lyon (France) sous le titre Les Escaliers du pont de l"Alma (Le Progrès, 9 juillet 1900). Eléments filmiques: 1 copie Edison. Pays: France. Ville: Paris. Lieu: pont. Événement: exposition. Genre: villes et paysages. Séries: Exposition universelle de Paris 1900. 50. Les Escaliers du pont de l"Alma / The Stairs of the Alma Bridge (1172)

Place de la Concorde (obélisque et fontaines). Vue N° 693. Circulation des piétons fiacres et charrettes sur la place. Opérateur: inconnu. Date: [25 octobre 1896] [7 novembre 1897]. Lieu: France, Paris, place de la Concorde. Projections: Programmation de Place de la Concorde le 7 novembre 1897 à Lyon (France) (Lyon républicain, 7 novembre 1897). Eléments filmiques: négatif Lumière - 1 copie Lumière. Pays: France. Ville: Paris. Lieu: place, ville. Genre: villes et paysages. Objet: voiture hippomobile. 51. Place de la Concorde (obélisque et fontaines) / Place de la Concorde (the Obelisque and the Fountains) (693)

Parvis de Notre-Dame. Vue N° 691. Circulation des piétons et voitures sur le parvis de la cathédrale. Opérateur: inconnu. Date: [25 octobre 1896] - [7 novembre 1897]. Lieu: France, Paris, parvis de l"église Notre-Dame. Projections: Programmée le 28 novembre 1897 à Lyon (France) sous le titre Paris : parvis de NotreDame (Lyon républicain, 28 novembre 1897). Eléments filmiques: négatif Lumière - 2 copies Lumière. Pays: France. Ville: Paris. Lieu: édifice religieux, ville. Genre: religion, villes et paysages. Objet: voiture hippomobile. 52. Parvis de Notre-Dame (691) VII Le Monde, tout proche / The World Nearby

La Canebière. Vue N° 133. Circulation des piétons, tramways, fiacres et charrettes au croisement de deux rues. Graphie originelle du titre : Cannebière. Cette orthographe usitée à l"époque persistera jusqu"en 1927. Opérateur: Lumière. Date: [avril 1896] - 11 avril 1896. Lieu: France, Marseille, la Canebière. Projections: Programmée le 20 novembre 1896 à Marseille (France) sous le titre Cannebière (Le Masque, 20 novembre 1896). Eléments filmiques: négatif Lumière - 3 copies Lumière. Pays: France. Ville: Marseille. Lieu: rue, ville. Genre: villes et paysages. Objet: tramway hippomobile et omnibus, voiture hippomobile. Séries: Premiers tournages à Marseille. 53. La Canebière (133)

Biarritz : la plage et la mer. Vue N° 1220. Repos et promenade sur la plage. Opérateur: [Félix Mesguich]. Date: [25 mai 1899] - [15 avril 1900]. Lieu: France, Biarritz, Grande Plage. Personnes: Au fond à droite, le Palais Biarritz (ancienne villa Eugénie), et à gauche, le phare Saint-Martin. Technique: Plongée. Eléments filmiques: négatif Lumière. Pays: France. Ville: Biarritz. Lieu: mer, plage. Genre: distraction, villes et paysages. Sujet: enfant. Séries: La station balnéaire de Biarritz, Les régions françaises à l"Exposition universelle, Sud. 54. La Plage et la mer / The Beach and the Sea (1220)

Fort-de-France : marché. Vue N° 1389. Animation d’un marché. Opérateur: [Alexandre Promio]. Date: [10 février 1902] - [11 mars 1903]. Lieu: Martinique, Fort-de-France, Antilles françaises. Eléments filmiques: négatif Lumière. Pays: Martinique. Ville: Fort-de-France. Lieu: marché. Genre: villes et paysages. Séries: Martinique. 55. Fort de France - marché / A Market at Fort-de-France (1389)

Rentrée à l’étable. Vue N° 313. “Ces quatre dernières vues [cf. n° 1368 à 1371] ont été prises à Genève, lors de l’exposition de 1896.”Un troupeau de chèvres et de vaches conduit par des gardiens traverse la foule des visiteurs. Opérateur: [Alexandre Promio]. Date: 7 mai 1896 - [12 juin 1896]. Lieu: Suisse, Genève, Exposition nationale, Village suisse. Projections: Programmée le 5 juillet 1896 à New York (États-Unis) sous le titre The Return to the Stable (from the Geneva Exposition) [Le retour à l"étable (de l"Exposition de Genève)] (The New York Press, 5 juillet 1896).Programmée le 11 avril 1897 à Lyon (France) sous le titre Suisse. - Rentrée à l"étable (Lyon républicain, 11 avril 1897). Eléments filmiques: négatif Lumière - 1 copie Lumière. Pays: Suisse. Ville: Genève. Personnes identifiées: François-Henri Lavanchy-Clarke. Événement: exposition. Sujet: animal. Séries: Alexandre Promio à Genève (1896), Le village Suisse de l"Exposition de Genève. 56. Suisse : Rentrée à l’étable / Switzerland: Back to the Barn (313)

Danse au bivouac. Vue N° 266. Des soldats, seuls ou en couple, dansent une jota. Opérateur: Alexandre Promio. Date: [12 juin 1896] - 30 juin 1896. Lieu: Espagne, Madrid, [camp de Vicálvaro]. Projections: Programmée le 30 juin 1896 à Lyon (France) sous le titre Danse d"un bivouac espagnol (Lyon républicain, 30 juin 1896). Eléments filmiques: négatif Lumière - 2 copies Lumière. Pays: Espagne. Ville: Madrid. Lieu: campagne, champ de manœuvres. Genre: distraction, militaire. Sujet: soldat. Séries: Alexandre Promio à Madrid (1896), Les militaires de Madrid. 57. Madrid : Danse au bivouac / A Camp Dance (266)

Déchargement d’un navire. Vue N° 34. “Des portefaix transportent des colis et des marchandises en traversant la passerelle, tandis que la vapeur sort par le côté du bâtiment.” La sortie contemporaine de cette vue avec celles de Madrid porte à croire qu"elle a pu être tournée par Alexandre Promio, sur sa route vers Madrid, et non à son retour puisqu"il précise dans son “Carnet de route” qu"il est revenu d"Espagne par Bordeaux. Opérateur: [Alexandre Promio]. Date: [21 mai 1896] - [12 juin 1896]. Lieu: Espagne, Barcelone, port. Projections: Programmée le 10 juillet 1896 à Vichy (France) sous le titre Déchargement d"un navire de blé dans le port de Barcelone (L"Écho de Vichy, 10 juillet 1896).Programmée le 26 décembre 1896 à Auxerre (France) sous son titre (L"Indépendant Auxerrois, 26 décembre 1896).Programmée le 8 janvier 1897 à Séville (Espagne) sous le titre Descarga de un barco en el puerto de Barcelona [Déchargement d"un bateau dans le port de Barcelone] (El Noticiero sevillano, 8 janvier 1897).Programmation de Place du port à Barcelone le 5 juillet 1896 à Lyon (France) (Lyon républicain, 5 juillet 1896). Eléments filmiques: négatif Lumière - 3 copies Lumière. Pays: Espagne. Ville: Barcelone. Lieu: port. Genre: travail. Sujet: ouvrier. Objet: bateau. Séries: Alexandre Promio à Madrid (1896). 58. Déchargement d"un navire / Unloading a Ship (34)

Panorama du Grand Canal pris d’un bateau. Vue N° 295. Panorama des façades des palais. Opérateur: Alexandre Promio. Date: [25 octobre 1896] - 13 décembre 1896. Lieu: Italie, Venise, Grand Canal. Projections: Programmée le 13 décembre 1896 à Lyon (France) sous le titre Panorama de Venise (Vue du Grand Canal) (Lyon républicain, 13 décembre 1896). Technique: Travelling latéral de gauche à droite. Eléments filmiques: négatif Lumière - 2 copies Lumière. Pays: Italie. Ville: Venise. Lieu: cours d’eau. Genre: villes et paysages. Objet: bateau. Séries: Les panoramas d’Alexandre Promio. 59. Venise : Panorama du Grand Canal pris d’un bateau / A Tracking Shot of Canal Grande from a Boat (295)

Entrée du Cinématographe. Vue N° 250. Une foule sort du cinématographe et se disperse dans la rue tandis que des cabs circulent ou stationnent. Cette vue a été tournée avant le 27 avril puisque sur la pancarte d"un homme-sandwich qui passe dans le champ, il est inscrit : “The Old King"s Head - A great billiard tournament Monday april 27, 1896.” Opérateur: [Charles Moisson]. Date: [8 mars 1896] - 27 avril 1896. Lieu: Grande-Bretagne, Londres, Leicester Square. Personnes: L"Empire Theater, où ont lieu les projections Lumière. Projections: Programmée le 10 mai 1896 à Lyon (France) sous le titre L"Entrée du Cinématographe à Londres (Lyon républicain, 10 mai 1896). Eléments filmiques: négatif Lumière. Pays: Grande-Bretagne. Ville: Londres. Lieu: Cinématographe (salle du), rue, ville. Genre: distraction, publicité, villes et paysages. Objet: voiture hippomobile. Séries: Les premiers tournages à l"étranger. 60. Entrée du Cinématographe / Entrance to the Cinématographe (250)

Pont de Westminster. Vue N° 254. Circulation sur le pont. Opérateur: inconnu. Date: [20 février 1896] - 16 août 1896. Lieu: Grande-Bretagne, Londres, Westminster Bridge. Projections: Programmée le 16 août 1896 à Lyon (France) sous le titre Londres : le pont de Westminster et le parlement (Lyon républicain, 16 août 1896). Eléments filmiques: négatif Lumière. Pays: Grande-Bretagne. Ville: Londres. Lieu: pont, ville. Genre: villes et paysages. Objet: tramway hippomobile et omnibus, voiture hippomobile. Séries: Les premiers tournages à l"étranger. 61. Londres : Pont de Westminster / Westminster Bridge (254)

Panoptikum-Friedrichstrasse. Vue N° 219. Circulation de piétons et de véhicules devant le Panoptikum. - Cette vue n"a pu être prise qu"après le 9 juin 1896, premier jour de l"exhibition des “42 wilde Weiber aus Dahomey” [42 femmes sauvages du Dahomey], qui est annoncée sur le fronton du passage.- Des projections Lumière commenceront à Berlin au 65a de cette rue, à partir du 28 avril 1896. Opérateur: inconnu. Date: 9 juin 1896 - 6 septembre 1896. Lieu: Allemagne, Berlin, Friedrichstraße 164-165, angle de Behrenstraße. Personnes: À gauche, le Panoptikum Castan (au 165 Friedrichstraße) ; au centre, l"entrée du Passage-Panoptikum (au 164 Friedrichstraße). Projections: Programmée le 6 septembre 1896 à Brême (Allemagne) (Bremer Courier, n° 247, 6 septembre 1896). Eléments filmiques: négatif Lumière. Pays: Allemagne. Ville: Berlin. Lieu: rue, ville. Genre: villes et paysages. Objet: tramway hippomobile et omnibus, voiture hippomobile. 62. Panoptikum - Friedrichstrasse (219)

Pompiers : un incendie, II. Vue N° 711. “Suite de la vue précédente [cf. n° 1096]. Une deuxième pompe, puis la voiture portant les échelles, arrivent sur le lieu du sinistre et les pompiers commencent leurs manoeuvres.”Passage de divers véhicules de pompiers devant la foule qui envahit ensuite la rue. Opérateur: Alexandre Promio]. Date: [21 juin 1897] - [21 octobre 1897]. Lieu: Irlande (aujourd"hui Eire), Dublin. Projections: Projection de vues de Grande-Bretagne et d"Irlande le 21 octobre 1897 au Gatti"s à Londres (Grande-Bretagne) (The Era, 23 octobre 1897).Programmation de Un incendie à Dublin le 14 mai 1899 à Lyon (France) (Le Progrès, 14 mai 1899). Eléments filmiques: négatif Lumière - 1 copie Lumière - 2 copies Edison. Pays: Irlande (Eire). Ville: Dublin. Lieu: rue, ville. Genre: militaire. Sujet: acrobate et équilibriste, clown. Objet: machine et outil, voiture hippomobile. Séries: Les vues pour le Triograph (1897). 63. Dublin : Pompiers - Un incendie, II (711)

Panorama de la Corne d’Or. Vue N° 416. Panorama des habitations de la rive européenne et des navires du port. Opérateur: Alexandre Promio. Date: 3 avril 1897 - [25 avril 1897]. Lieu: Turquie d"Europe, Constantinople (aujourd"hui Turquie, Istanbul), Corne d"Or, le Bosphore. Projections: Programmée le 29 août 1897 à Lyon (France) sous le titre Constantinople : panorama de la Corne d"or (Lyon républicain, 29 août 1897). Technique: Travelling latéral de gauche à droite. Eléments filmiques: négatif Lumière - 1 copie Lumière - 1 copie Edison. Pays: Turquie. Ville: Constantinople. Lieu: cours d’eau. Genre: villes et paysages. Objet: bateau. Séries: Alexandre Promio en Turquie (1897), info-five-125. 64. Turquie : Constantinople : Panorama de la Corne d’Or / A Tracking Shot of the Golden Horn (416)

Caravane de chameaux. Vue N° 407. Passage d’une caravane de dromadaires. Opérateur: Alexandre Promio. Date: 3 avril 1897 - [25 avril 1897]. Lieu: Turquie d"Asie, Jérusalem (aujourd"hui Israël), Palestine. Projections: Programmée le 9 mai 1897 à Barcelone (Espagne) sous le titre Jerusalén (caravana de camellos) [Jérusalem (caravane de chameaux)] (Diario de Barcelona de avisos y noticias, 9 mai 1897).Programmée le 16 avril 1899 à Lyon (France) sous le titre Une caravane dans le désert (Le Progrès,16 avril 1899). Eléments filmiques: négatif Lumière - 2 copies Lumière. Pays: Turquie d"Asie (Israël). Ville: Jérusalem. Genre: villes et paysages. Sujet: animal. Séries: Alexandre Promio en Turquie (1897), info-five-125. 65. Turquie d’Asie : Caravane de chameaux / A Caravan of Camels (407)

Porte de Jaffa : côté est. Vue N° 401. Circulation de piétons dans une rue. Opérateur: Alexandre Promio. Date: 3 avril 1897 - [25 avril 1897]. Lieu: Turquie d"Asie, Jérusalem (aujourd"hui Israël), porte de Jaffa, Palestine. Projections: Programmation de Jérusalem : porte de Jaffa le 21 novembre 1897 à Lyon (France) (Lyon républicain, 21 novembre 1897). Eléments filmiques: négatif Lumière - 2 copies Lumière. Pays: Turquie d"Asie (Israël). Ville: Jérusalem. Lieu: rue, ville. Genre: villes et paysages. Séries: Alexandre Promio en Turquie (1897), info-five-125, La porte de Jaffa. 66. Porte de Jaffa: côté Est / The Jaffa Gate: East Side (401)

Les pyramides (vue générale). Vue N° 381. Une caravane de chameliers puis un groupe de marcheurs passent devant le Sphinx et la grande pyramide. Opérateur: Alexandre Promio. Date: 12 mars 1897 - [18 avril 1897]. Lieu: Égypte, Gizeh. Projections: Programmée le 25 avril 1897 à Lyon (France) sous le titre Égypte : les pyramides et le Sphinx (Lyon républicain, 25 avril 1897). Eléments filmiques: négatif Lumière - 2 copies Lumière - 2 copies Edison. Pays: Égypte. Ville: Gizeh. Genre: villes et paysages. Séries: Alexandre Promio en Égypte (1897), Égypte. 67. Egypte : Les Pyramides (vue générale) (381)

Le bey de Tunis et les personnages de sa suite descendant l’escalier du Bardo. Vue N° 1374. Le bey Muhammad al-Hadjdj et sa suite descendent l’escalier. Opérateur: Alexandre Promio. Date: 27 avril 1903. Lieu: Tunisie, Tunis, palais du Bardo. Personnes: Sur la deuxième marche, le bey de Tunis, Muhammad alHadjdj. Eléments filmiques: négatif Lumière - 2 copies Edison. Pays: Tunisie. Ville: Tunis. Lieu: palais royal. Personnes identifiées: identi-745. Événement: voyage officiel. Genre: événement officiel. Sujet: personnalité. Séries: Alexandre Promio en Tunisie (1903), Le président à Tunis, Voyage du président Émile Loubet en Algérie et en Tunisie. 68. Tunisie : Le Bey de Tunis descend l’escalier du Bardo / The Bey of Tunis Descends the Stairs of the Bardo Palace (1374)

Rue Tverskaïa. Vue N° 307. Circulation de passants et de voitures dans la rue pavoisée à l’occasion du couronnement du tsar. « Les fêtes du couronnement, Moscou le 21 mai. — […] La rue Tverskaïa : […] Ce chemin mesure une bonne lieue, c’est la rue Tverskaïa, la principale artère de Moscou, qui mène du palais Petrowsky, où l’empereur est descendu lundi en arrivant de Saint-Pétersbourg, à la place Rouge, c’est-à-dire au Kremlin. […] La rue a été couverte d’une épaisse couche de sable jaune qui assourdit le bruit des grandes bottes. » (Le Messager de Toulouse, Toulouse, 22 mai 1896). Si la rue Tverskaïa est pavoisée, c"est parce que le tsar a fait son entrée solennelle dans Moscou par cette rue pour se rendre au sacre. Opérateur: Charles Moisson. Date: 19 mai 1896 - 1er juin 1896. Lieu: Russie, Moscou, rue Tverskaïa. Projections: Programmée le 9 août 1896 à Lyon (France) sous le titre Moscou : rue Tverskoï pendant les fêtes (Lyon républicain, 9 août 1896).Projection de 18 vues du couronnement du tsar le 24 juin 1896 à Paris (France) dans les salons du Figaro (Le Figaro, 25 juin 1896).Programmation de Le Couronnement du czar le 21 juin 1896 à Rouen (France) (Le Nouvelliste de Rouen, 21 juin 1896). Eléments filmiques: négatif Lumière - 1 copie Edison. Pays: Russie. Ville: Moscou. Lieu: rue, ville. Genre: événement officiel, villes et paysages. Objet: voiture hippomobile. Séries: Couronnement du tsar Nicolas II à Moscou. 69. Moscou: Rue Tverskaïa (307)

Broadway. Vue N° 319. Circulation de piétons, voitures et tramways sur l’avenue. Opérateur: Alexandre Promio. Date: [septembre 1896] - 25 septembre 1896. Lieu: États-Unis, New York, Broadway. Projections: Projection d"une série de vues américaines le 16 décembre 1896 au Photo-Club de Lyon (France) (Lyon républicain, 17 décembre 1896). Eléments filmiques: négatif Lumière. Pays: États-Unis. Ville: New York. Lieu: rue, ville. Genre: villes et paysages. Objet: tramway électrique, voiture hippomobile. Séries: Alexandre Promio en Amérique. 70. Broadway (319)

Défilé de policemen. Vue N° 336. Des policiers en rangs serrés défilent devant quelques passants. Opérateur: Alexandre Promio. Date: 11 septembre 1896 - 20 septembre 1896. Lieu: États-Unis, Chicago, Michigan Avenue. Projections: Programmée le 3 janvier 1897 à Lyon (France) sous le titre Chicago : défilé de Policemen (Le Progrès, 3 janvier 1897).Projection d"une série de vues américaines le 16 décembre 1896 au Photo-Club de Lyon (France) (Lyon républicain, 17 décembre 1896). Eléments filmiques: négatif Lumière - 1 copie Lumière. Pays: États-Unis. Ville: Chicago. Lieu: rue, ville. Événement: parade militaire. Genre: villes et paysages. Sujet: soldat. Séries: Alexandre Promio en Amérique, Chicago. 71. Chicago : Défilé de policemen / A Parade of Policemen (336)

Baignade de chevaux. Vue N° 357. Des chevaux conduits par des palefreniers entrent dans l’eau, tandis qu’un homme essaie de faire reculer des canards qui avancent sur l’eau. Opérateur: Gabriel Veyre. Date: [20 octobre 1896] - 12 novembre 1896. Lieu: Mexique, Guadalajara, ferme d"Atequiza. Projections: Programmée le 12 novembre 1896 à Guadalajara (Mexique) sous le titre Baño de caballos [Baignade de chevaux] (El Correo de Jalisco, 12 novembre 1896). Programmée le 28 mars 1897 à Lyon (France) sous le titre Mexique : baignade de chevaux (Lyon républicain, 28 mars 1897). Eléments filmiques: négatif Lumière 3 copies Lumière. Pays: Mexique. Ville: Guadalajara. Lieu: campagne, ferme. Genre: travail. Sujet: animal. Séries: Gabriel Veyre en Amérique latine (1896-1897), L"hacienda d"Atequiza. 72. Baignade de chevaux / Bathing Horses (357)

Enfants annamites ramassant des sapèques devant la pagode des dames. Vue N° 1274. Des enfants se précipitent pour ramasser les piécettes que leur lancent deux femmes. Il existe une photographie légendée de Gabriel Veyre (fonds Jacquier/Veyre) qui a permis de reconnaître Mme et Mlle Doumer. Les deux femmes sont en train de jeter à la volée des sapèques à des enfants indigènes. Ces pièces de monnaie trouées en leur centre pour faciliter leur transport avec une ficelle, n"avaient que très peu de valeur, comme on peut s"en rendre compte en lisant ce témoignage d"un voyageur français de l"époque : “[...] toujours aussi incommode, toujours enfilée en son milieu en lourds chapelets, elle continue à casser de temps en temps son lien pour aller s"éparpiller par terre, si bien qu"il faut ramasser l"une après l"autre 600 de ces petites rondelles pour relever seulement la valeur de 18 sous français...” (in Régis Antoine, L"Histoire curieuse des monnaies coloniales, ed. ACL, Paris, 1986, p. 117). Opérateur: Gabriel Veyre. Date: 28 avril 1899 - 2 mars 1900. Lieu: Indochine française (aujourd"hui Vietnam), [Annam]. Personnes: Au centre, Madame Paul Doumer et sa fille à droite. Projections: Programmée le 20 janvier 1901 à Lyon (France) sous le titre Indo-Chine : enfants annamites ramassant des sapèques devant la pagode des dames (Le Progrès, 21 janvier 1901). Eléments filmiques: négatif Lumière. Pays: Vietnam. Lieu: édifice religieux. Personnes identifiées: Mlle Paul Doumer, Mme Paul Doumer. Genre: villes et paysages. Sujet: enfant, personnalité. Séries: Gabriel Veyre en Indochine (1899 - 1900). 73. Indochine : Enfants annamites ramassant des sapèques devant la pagode des dames / Annamese Children Gathering Coins in Front of the Ladies" Pagoda (1274)

Embarquement d’un boeuf à bord d’un navire (11m50). Vue N° 1286. Un boeuf pendu par les cornes est hissé sur le pont. Opérateur: Gabriel Veyre. Date: 28 avril 1899 - 2 mars 1900. Lieu: Indochine française (aujourd"hui Vietnam), [Tonkin]. Projections: Programmée le 18 novembre 1900 à Lyon (France) sous le titre À travers l"Indochine (1° série). Embarquement d"un boeuf à bord d"un navire (Le Progrès, 20 novembre 1900). Eléments filmiques: négatif Lumière. Pays: Vietnam. Genre: travail. Sujet: animal, ouvrier. Objet: bateau. Séries: Gabriel Veyre en Indochine (1899 - 1900). 74. Indochine : Embarquement d’un bœuf / Boarding a Bull (1286)

Lutteurs japonais. Vue N° 925. Deux hommes en costume traditionnel se livrent un combat au sabre. Opérateur: Constant Girel. Date: octobre 1897. Lieu: Japon, Kyoto, Honshu. Projections: Programmée le 20 février 1898 à Lyon (France) sous son titre (Lyon républicain, 20 février 1898).Programmation de Le tournoi national de Kendo le 1er juillet 1898 à Nagoya (Japon) (Schin-Aichi, 30 juin 1898). Eléments filmiques: négatif Lumière. Pays: Japon. Ville: Kyoto. Événement: affrontement, compétition. Genre: coutumes, sport. Objet: arme. Séries: Constant Girel au Japon (1897), info-five-53. 75. Japon : Lutteurs japonais / Japanese Fighters (925) VIII De la comédie ! / Comedy!

Arroseur et arrosé, [II]. Vue N° 99,2. “Un gamin vient appuyer le pied sur le tuyau avec lequel un jardinier arrose son jardin. Ce dernier, surpris de voir le jet s’arrêter, examine la lance ; à ce moment le gamin lève le pied ; le jet repart et l’arroseur le reçoit en pleine figure ; furieux, il court après le gamin et lui donne une correction.” Il est à noter que cette vue est répertoriée sous le numéro de série 99 en bande pour Kinora et était peut-être également vendue sous le n° 99 dans les catalogues Lumière. Opérateur: inconnu. Date: [printemps 1896] - [1er mai 1897]. Lieu: France, Lyon, Monplaisir. Eléments filmiques: négatif Lumière - 1 copie Lumière. Pays: France. Ville: Lyon. Lieu: jardin. Genre: comédie, vue comique. Sujet: enfant. Séries: Arroseur et arrosé. 76. Arroseur arrosé II / Tables Turned on the Gardener II (99)

Bonne d’enfants et soldat. Vue N° 103. “Une bonne d’enfants se promène avec un enfant à la main en lisant un roman. Elle ne s’aperçoit pas que l’enfant la quitte pour aller jouer et elle laisse pendre sa main comme si elle le tenait encore. Un cuirassier lui prend doucement la main et marche aux côtés de la bonne, qui croit toujours conduire l’enfant et qui manifeste son mécontentement quand elle s’aperçoit de la farce.” Un des personnages est celui qui interprète le rôle du photographe dans la vue n° 212 tournée à Lyon. Opérateur: inconnu. Date: [hiver 1896-1897] - 7 mars 1897. Lieu: France, [Lyon, Monplaisir]. Projections: Programmée le 4 janvier 1902 à Paris (France) sous son titre (Programme du 4 au 11 janvier 1902, le Select, 6, bd. Saint-Denis, Paris, Bibliothèque Historique de La ville de Paris). Eléments filmiques: négatif Lumière - 2 copies Lumière. Pays: France. Ville: Lyon. Lieu: jardin, parc. Genre: comédie, vue comique. Sujet: enfant, soldat. Objet: costumes. 77. Bonne d’enfant et soldat / A Nurse and a Soldier (103)

Football. Vue N° 699. Deux équipes disputent un match de football. Opérateur: [Alexandre Promio]. Date: [21 juin 1897] - [21 octobre 1897]. Lieu: GrandeBretagne, Londres. Projections: Projection de vues de Grande-Bretagne et d"Irlande le 21 octobre 1897 au Gatti"s à Londres (Grande-Bretagne) (The Era, 23 octobre 1897).Programmée le 10 avril 1898 à Lyon (France) sous le titre Foot-ball (Lyon républicain, 10 avril 1898). Eléments filmiques: négatif Lumière - 1 contretype Lumière - 1 copie Lumière. Pays: Grande-Bretagne. Ville: Londres. Genre: sport. Séries: info-five-53, Les vues pour le Triograph (1897). 78. Football (699)

Querelle de matelassières. Vue N° 948. “Deux matelassières se sont prises de querelle ; un passant veut les séparer, mais d’un commun accord les deux matelassières se précipitent sur lui.” Opérateur: inconnu. Date: [1897] - [décembre 1898]. Lieu: France. Projections: Programmée le 11 décembre 1898 à Lyon (France) sous son titre (Lyon républicain, 11 décembre 1898). Eléments filmiques: négatif Lumière - 1 contretype Lumière - 3 copies Lumière - 1 copie Edison. Pays: France. Événement: affrontement. Genre: comédie, vue comique. Objet: costumes. 79. Querelle de matelassières / Quarreling Mattress-Makers (948)

L’amoureux dans le sac. Vue N° 885. “Pendant qu’un amoureux descend l’échelle de corde dont il s’était servi pour aller trouver sa belle, le mari dispose doucement sous l’échelle un sac dans lequel tombe le jeune homme et il lui applique alors une vigoureuse correction.”Farce jouée par le mari d’une belle à l’amoureux de celle-ci. Opérateur: inconnu. Date: [1897] - 12 juin 1898. Lieu: France, Lyon. Personnes: Sur le petit balcon, Eugénie Laurent. Projections: Programmée le 12 juin 1898 à Lyon (France) sous son titre (Lyon républicain, 12 juin 1898). Eléments filmiques: négatif Lumière - 1 copie Lumière - 1 copie Edison. Pays: France. Ville: Lyon. Lieu: décor. Personnes identifiées: Eugénie Laurent. Genre: comédie, vue comique. Objet: costumes. 80. L"Amoureux dans le sac / Lovers in a Sack (885)

Chapeaux à transformation. Vue N° 105. À l’aide d’un chapeau à larges bords, Félicien Trewey caricature quelques personnalités et différents types de personnages : Bruant, Édouard III d’Angleterre, l’écossais, le chinois, le pêcheur de sardines, le concierge, Don Basile, le bonnet de police et l’armée du salut. Dans le Catalogue des vues - Première Liste qu"il a remis à Georges Sadoul en 1946, Louis Lumière a annoté les vues qu"il s"attribuait dont celle-ci. Opérateur: Louis Lumière. Date: [16 janvier 1896] - [9 février 1896]. Lieu: France, La Ciotat, Clos des Plages. Personnes: Félicien Trewey. Projections: Programmée le 23 février 1896 à Lyon (France) sous le titre Les Chapeaux à transformation (Lyon républicain, 23 février 1896). Eléments filmiques: négatif Lumière - 6 copies Lumière. Pays: France. Ville: La Ciotat. Lieu: décor. Personnes identifiées: Félicien Trewey. Genre: spectacle. Sujet: religieux. Objet: costumes. Séries: Félicien Trewey, infofive-32. 81. Chapeaux à transformation / Metamorphoses of a Hat (105)

24e chasseurs alpins : leçon de boxe. Vue N° 171. Les chasseurs alpins exécutent diverses figures de boxe. Opérateur: inconnu. Date: [février 1897] - [7 mars 1897]. Lieu: France, Villefranche-sur-Mer. Projections: Programmée le 28 mars 1897 à Lyon (France) sous le titre Chasseurs alpins : leçon de boxe (Lyon républicain, 28 mars 1897). Eléments filmiques: négatif Lumière. Pays: France. Ville: Villefranche-sur-Mer. Lieu: caserne. Genre: militaire, sport. Sujet: soldat. Séries: Les 24e et 27e bataillons de chasseurs alpins en garnison, Les chasseurs alpins. 82. 24e chasseurs alpins : leçon de boxe / Alpine Hunters: Boxing Lesson (171)

27e chasseurs alpins : assaut d’un mur. Vue N° 177. Deux sections de chasseurs alpins escaladent un mur puis le descendent. Opérateur: inconnu. Date: [février 1897] - 14 mars 1897. Lieu: France, Menton. Projections: Programmée le 14 mars 1897 à Lyon (France) sous le titre Chasseurs alpins : assaut d"un mur (Le Progrès, 14 mars 1897). Eléments filmiques: négatif Lumière - 4 copies Lumière. Pays: France. Ville: Menton. Lieu: caserne. Genre: militaire. Sujet: soldat. Séries: Les 24e et 27e bataillons de chasseurs alpins en garnison, Les chasseurs alpins. 83. Chasseurs alpins : assaut d’un mur / Alpine Hunters: Charging over a Wall (177)

Le scieur de bois mélomane. Vue N° 880. Un homme découpe des bûches en jouant d’un trombone au bout duquel est fixée une scie. Opérateur: inconnu. Date: [1897] - 22 juin 1898. Lieu: France, Lyon. Projections: Déposée au Greffe du Conseil des Prud"hommes de la Ville de Lyon le 22 juin 1898. Eléments filmiques: négatif Lumière - 1 copie Lumière - 1 copie Edison. Pays: France. Ville: Lyon. Genre: comédie, vue comique. Objet: instrument de musique. 84. Le scieur de bois mélomane / A Musical Sawyer (880)

Danseuse de ballet. Vue N° 648. Une ballerine exécute quelques pas de danse, puis, tandis qu’elle salue, un homme lui apporte des fleurs. Titre issu du Catalogue des vues - Première, deuxième, troisième et quatrième Listes réunies. Opérateur: inconnu. Date: [1896] - 22 octobre 1897. Lieu: [France, Paris]. Projections: Déposée au Greffe du Conseil des Prud"hommes de la Ville de Lyon le 22 octobre 1897.Programmée le 9 janvier 1898 à Naples (Italie) sous le titre La Bossi a Parigi [La Bossi à Paris] (Corriere di Napoli, 9 janvier 1898).Programmée le 18 juin 1899 à Lyon (France) sous son titre (Le Progrès, 18 juin 1899). Technique: Tournage en intérieur. Eléments filmiques: négatif Lumière - 3 copies Lumière. Pays: France. Ville: Paris. Événement: danse. Genre: art. Sujet: danseur. Séries: infofive-26. 85. Danseuse de ballets / A Ballet Dancer (648)

Charcuterie mécanique. Vue N° 107. “Un cochon est introduit dans un appareil mécanique et il suffit de tourner une manivelle pour faire sortir de l’autre côté : jambons, saucisses, boudins, etc.” Dans le Catalogue des vues - Première Liste qu"il a remis à Georges Sadoul en 1946, Louis Lumière a annoté les vues qu"il s"attribuait dont celle-ci. Opérateur: Louis Lumière. Date: [16 janvier 1896] - 18 avril 1896. Lieu: France, [La Ciotat], [Clos des Plages]. Projections: Programmée le 18 avril 1896 à Lyon (France) sous son titre (Le Progrès, 18 avril 1896). Eléments filmiques: négatif Lumière - 1 contretype Lumière. Pays: France. Ville: La Ciotat. Lieu: parc. Genre: comédie, vue comique. Sujet: animal. 86. Charcuterie mécanique / A Sausage Machine(107) IX Un siècle nouveau / A New Century

Machine à damer. Vue N° 637. Des ouvriers arasent le sol tandis qu’une machine dame la terre. Opérateur: inconnu. Date: printemps 1897. Lieu: France, canal de Jonage. Projections: Programmée le 8 août 1897 à Lyon (France) sous le titre Canal de Jonage : machine à damer (Lyon républicain, 8 août 1897). Eléments filmiques: négatif Lumière. Pays: France. Lieu: chantier. Genre: travail. Sujet: ouvrier. Objet: machine et outil. Séries: Le canal de Jonage. 87. Machine à damer / A Tamping Machine (637)

Scaphandrier. Vue N° 92. Dans un bassin de radoub, des hommes actionnent une pompe à air pour alimenter un scaphandrier qui, une fois sorti de l’eau, est déshabillé par d’autres hommes. Opérateur: inconnu. Date: [16 janvier 1896] - 3 mai 1896. Lieu: France, [port méditerranéen]. Projections: Programmée le 3 mai 1896 à Lyon (France) sous le titre Le Scaphandrier (Lyon républicain, 3 mai 1896). Eléments filmiques: négatif Lumière. Pays: France. Lieu: port. Genre: travail. Sujet: ouvrier. Objet: machine et outil. Séries: info-five-69. 88. Scaphandrier / A Diver [A Surface-Supplied Diver] (92)

Vue prise d’une plate-forme mobile, I. Vue N° 1155. Circulation des visiteurs debout sur le trottoir roulant. Opérateur: inconnu. Date: 15 avril 1900 - [24 mai 1900]. Lieu: France, Paris, Exposition universelle 1900. Projections: Programmation de Vue prise d"une plate-forme mobile le 24 mai 1900 à Lyon (France) (Le Progrès, 26 mai 1900). Eléments filmiques: négatif Lumière. Pays: France. Ville: Paris. Événement: exposition. Genre: villes et paysages. Objet: trottoir roulant. Séries: Exposition universelle de Paris 1900, La plate-forme mobile. 89. Exposition Universelle : Vue prise d’une plate-forme mobile I / Paris World"s Fair: A View from a Moving Platform (1155)

Descente des voyageurs du pont de Brooklyn. Vue N° 324. Des piétons et véhicules en tous genres circulent sur la chaussée, tandis que des piétons traversent la passerelle et descendent l’escalier. La vue est prise à Manhattan. Opérateur: Alexandre Promio. Date: [septembre 1896] - 25 septembre 1896. Lieu: États-Unis, New York. Projections: Programmée le 10 janvier 1897 à Lyon (France) sous le titre New York : descente des voyageurs du pont de Brooklyn (Lyon républicain, 10 janvier 1897).Projection d"une série de vues américaines le 16 décembre 1896 au Photo-Club de Lyon (France) (Lyon républicain, 17 décembre 1896). Eléments filmiques: négatif Lumière - 2 copies Edison. Pays: États-Unis. Ville: New York. Lieu: pont, rue, ville. Genre: villes et paysages. Objet: tramway électrique, voiture hippomobile. Séries: Alexandre Promio en Amérique. 90. Descente des voyageurs du pont de Brooklyn / Travellers Descend from the Brooklyn Bridge (324)

Puits de pétrole à Bakou. Vue de près. Vue N° 1035. Les derricks dégagent des fumées noires. Opérateur: inconnu. Date: [1897] - 6 août 1899. Lieu: Russie (aujourd"hui Azerbaïdjan), Bakou, plateau de Balakhani-Sabountchi. Projections: Programmation de Bakou pétrole en feu le 6 août 1899 à Lyon (France) (Le Progrès, 6 août 1899). Eléments filmiques: négatif Lumière. Pays: Azerbaïdjan. Ville: Bakou. Lieu: chantier. Genre: travail, villes et paysages. Objet: machine et outil. Séries: Bakou. 91. Puits de pétrole à Bakou : Vue de près / Oil Well in Baku: A Close View (1035)

Lancement du “Varese” à Livourne. Vue N° 1086. Lancement d’un navire. Graphie originelle du titre : Lancement du “Varene” à Livourne. Opérateur: Francesco Felicetti. Date: 6 août 1899. Lieu: Italie, Livourne, chantier naval Orlando. Projections: Programmée le 20 octobre 1900 à Lyon (France) sous le titre Lancement du Varene, à Livourne (Le Progrès, 22 octobre 1900). Technique: Plongée. Eléments filmiques: négatif Lumière. Pays: Italie. Ville: Livourne. Lieu: chantier. Événement: cérémonie, lancement de navire. Genre: événement officiel, militaire. Objet: bateau. Séries: Lancement du Varese (1899). 92. Lancement du Varese à Livourne / Launching the Varese at Livorno (1086) X Déjà, le cinéma / Vanguards of Cinema

Vue prise d’une baleinière en marche. Vue N° 1241. “La scène a été prise sur la baleinière ; on voit de très près les matelots qui rament avec effort ; au fond, la mer avec des bateaux.” Opérateur: inconnu. Date: [1897] - [18 mars 1900]. Lieu: France, [Hyères]. Projections: Programmée le 15 décembre 1900 à Lyon (France) sous son titre (Le Progrès, 16 décembre 1900). Technique: Travelling avant. Eléments filmiques: négatif Lumière. Pays: France. Ville: Hyères. Genre: militaire. Sujet: marin. Objet: bateau. Séries: À bord de "La Couronne", info-five-77. 93. Vue prise d’une baleinière en marche / View from a Whaleboat (1241)

Accident d’automobile. Vue N° 2021. “Un vieux mendiant traverse une chaussée et tombe au moment où survient une automobile qui le culbute et le coupe en morceaux. Un colleur d’affiches témoin de l’accident se précipite à son secours ainsi que le chauffeur auteur involontaire de l’accident. Le colleur d’affiches voyant le désespoir du pauvre chauffeur, lui propose de recoller les membres du vieux mendiant. Après cette opération le colleur d’affiches et le chauffeur remettent sur pied le mendiant qui, revenu à la vie, continue sa route pendant que l’automobile s’éloigne.” Opérateur: inconnu. Date: [18 janvier 1903] - 7 octobre 1905. Lieu: France. Projections: Annoncée à la vente le 7 octobre 1905 sous son titre (L"Industriel forain, 7-10 octobre 1905). Technique: Plusieurs plans par collures (3 trucages) Longueur : 28 mètres. Eléments filmiques: négatif Lumière en 2 bobines - 1 copie Lumière - 1 copie Edison. Pays: France. Lieu: rue, ville. Genre: comédie, vue comique. Objet: voiture automobile. Séries: Les dernières vues comiques. 94. Accident d’automobile / Car Accident (hors catalogue, 2021)

Bocal aux poissons rouges. Vue N° 18. Des poissons nagent dans un bocal. Opérateur: inconnu. Date: [1896] - 21 mars 1897. Lieu: [France]. Projections: Programmée le 21 mars 1897 à Lyon (France) sous son titre (Lyon républicain, 21 mars 1897). Technique: [Tournage en intérieur]. Eléments filmiques: négatif Lumière. Pays: France. Lieu: domicile. Genre: distraction. Sujet: animal. 95. Bocal de poissons rouges / Goldfish Bowl (18)

Mauvais temps au port. Vue N° 1096. “Scène analogue à la précédente [cf. n° 678], prise en Italie.” Opérateur: inconnu. Date: [1897] - 29 octobre 1899. Lieu: Italie. Projections: Programmée le 29 octobre 1899 à Lyon (France) sous le titre Tempête dans un port (Le Progrès, 29 octobre 1899).Programmée le 14 avril 1900 à Lyon (France) sous son titre (Le Progrès, 15 avril 1900). Eléments filmiques: négatif Lumière - 2 copies Lumière - 1 copie Edison. Pays: Italie. Lieu: mer, port. Genre: villes et paysages. Objet: bateau. 96. Mauvais temps au port / Bad Weather at the Port (1096)

En file indienne sur les glaciers avec les raquettes, I. Montée. Vue N° 1255. “Cette vue très intéressante, représente les soldats munis de raquettes et avançant sur la neige en file indienne ; la vue est prise pendant la montée.” Opérateur: inconnu. Date: [été 1899]. Lieu: France, les Alpes. Projections: Projection à partir du 12 avril 1900 à Paris (France), dans le pavillon des Voyages animés (L"Exposition par l"image, [1900]).Programmée le 20 janvier 1901 à Lyon (France) sous le titre Chasseurs alpins : dans les glaciers. Montée avec les raquettes (Le Progrès, 21 janvier 1901). Technique: Contre-plongée. Eléments filmiques: négatif Lumière - 1 copie Lumière. Pays: France. Lieu: champ de manœuvres, montagne. Genre: militaire. Sujet: soldat. Séries: Les chasseurs alpins, Les manœuvres en 1899. 97. Mont-Blanc : en file indienne avec les raquettes / In Single File on Snowshoes (1255)

En file indienne dans la montagne, I. Montée. Vue N° 1253. “Les alpins montent le long d’un glacier ; la vue représente une longue file de soldats qui serpente dans la neige.” Opérateur: inconnu. Date: [été 1899]. Lieu: France, les Alpes. Projections: Programmation de Chasseurs alpins en file indienne le 19 mai 1901 à Lyon (France) (Le Progrès, 22 mai 1901). Eléments filmiques: négatif Lumière - 1 copie Edison. Pays: France. Lieu: champ de manœuvres, montagne. Genre: militaire. Sujet: soldat. Séries: Les chasseurs alpins, Les manœuvres en 1899. 98. Mont-Blanc : en file indienne dans la montagne / In Single File on the Mountain (1253)

Fumerie d’opium. Vue N° 1270. Deux Indochinois allongés fument une pipe qu’ils se passent à tour de rôle. Opérateur: Gabriel Veyre. Date: 28 avril 1899 - 2 mars 1900. Lieu: Indochine française (aujourd"hui Vietnam), [Annam]. Eléments filmiques: négatif Lumière. Pays: Vietnam. Genre: coutumes. Séries: Gabriel Veyre en Indochine (1899 - 1900). 99. Fumerie d’opium / Smoking Opium (1270)

Duel au pistolet (longueur : 12 mètres). Vue N° 35. Deux duellistes, armés de pistolets, font feu : l’un d’eux est touché et s’écroule. On lui apporte les premiers soins, tandis qu’on éloigne l’autre. Du point de vue de la durée de l"action et du jeu des acteurs (en comparaison au n° 235, où il est évident qu"il s"agit d"une reconstitution), la mise en scène est ici si bien réglée qu"elle peut encore faire passer l"action pour un duel authentique. Opérateur: Gabriel Veyre. Date: 12 ou 13 décembre 1896. Lieu: Mexique, Mexico, parc de Chapultepec. Projections: Programmée le 21 février 1897 à Lyon (France) sous le titre Mexique : un Duel au pistolet (Lyon républicain, 21 février 1897). Technique: Longueur : 12 mètres. Eléments filmiques: négatif Lumière - 2 copies Lumière. Pays: Mexique. Ville: Mexico. Lieu: parc. Evénement: affrontement. Genre: comédie. Objet: arme. Séries: Gabriel Veyre en Amérique latine (1896-1897). Timeline 100. Mexique : Duel au pistolet / Duel with Pistols (35)

Panorama pris d’un ballon captif. Vue N° 997. Panorama de la foule sur une place puis des toits des maisons alentour pris pendant l’ascension d’un ballon. Opérateur: inconnu. Date: [1897] - [décembre 1898]. Lieu: [France]. Projections: Programmée le 2 juin 1901 à Lyon (France) sous le titre Panorama pris d"un ballon (Le Progrès, 4 juin 1901). Technique: Travelling ascendant - Plongée. Eléments filmiques: négatif Lumière. Pays: France. Genre: distraction. Objet: aérostat. 101. Panorama pris d’un ballon captif / Tracking Shot from a Hot Air Balloon (997)

Lancement d’un navire. Vue N° 57. Au lancement du navire dont on n’aperçoit que la coque, le public s’écarte. - Dans le Catalogue des vues - Première Liste qu"il a remis à Georges Sadoul en 1946, Louis Lumière a annoté les vues qu"il s"attribuait dont celle-ci.- Le nom du navire est la Persévérance, le 3e du nom. Opérateur: [Louis Lumière]. Date: 21 mars 1896. Lieu: France, La Seyne-sur-Mer, chantier naval de la Société des Forges et chantiers de la Méditerranée. Projections: Programmée le 18 avril 1896 à Lyon (Lyon) sous le titre Lancement d"un navire (Le Progrès, 18 avril 1896). Eléments filmiques: négatif Lumière - 2 copies Lumière. Pays: France. Ville: La Seyne-sur-Mer. Lieu: chantier. Événement: lancement de navire. Objet: bateau. Séries: info-five-69. 102. Lancement d’un navire / Launching a Ship (57) XI A bientôt Lumière / See You Soon, Lumière

Le squelette joyeux. Vue N° 831. Danse d’une marionnette à fils. Opérateur: inconnu. Date: [1897] - 20 mars 1898. Lieu: [France]. Projections: Programmée le 20 mars 1898 à Lyon (France) sous son titre (Le Progrès, 20 mars 1898). Technique: 2 plans par arrêt caméra. Eléments filmiques: 1 copie Lumière. Pays: France. Lieu: décor. Genre: spectacle. Sujet: acrobate et équilibriste. Séries: info-five-32. 103. Le squelette joyeux / The Jolly Skeleton (831)

Danse serpentine, [II]. Vue N° 765,1. “Cette vue représente la danse serpentine bien connue ; mise en couleurs, cette scène fait beaucoup d’effet.”Une danseuse exécute la danse serpentine en faisant tournoyer les pans de son ample robe. - L"apparition tardive des vues Lumière coloriées et montées laisse supposer que cette vue est postérieure à la précédente.- L"inscription “Via due macelli” sur un élément du décor laisse penser que cette vue a pu être tournée à Rome, où se trouve la “via dei Due Macelli” [rue des Deux Abattoirs]. Opérateur: inconnu. Date: [1897] - [19 juin 1899]. Lieu: [Italie, Rome]. Projections: Projection d"une Danse serpentine en couleur le 19 juin 1899 à Rome (Italie) (Il Messaggero, 19 juin 1899). Technique: 2 plans par collure, constitués de la même vue aboutée - Il existe une copie coloriée au pinceau. Eléments filmiques: négatif Lumière - 1 contretype Lumière - 1 copie Edison. Pays: Italie. Ville: Rome. Lieu: décor. Événement: danse. Genre: art. Sujet: danseur. Objet: costumes. Séries: Danses serpentines. 104. Danse serpentine / Serpentine Dance (765)

Bataille de neige. Vue N° 101. “Un grand nombre de personnages se battent à coups de boules de neige. Au milieu de cette mêlée, survient un cycliste sur lequel tout le monde lance des boules et qui finit par rouler par terre; il se relève et s’esquive vivement avec sa bicyclette et la bataille reprend de plus belle.” Opérateur: inconnu. Date: 31 janvier 1897 - 7 février 1897. Lieu: France, Lyon, Monplaisir, cours Gambetta (aujourd"hui cours Albert Thomas). Projections: Programmée le 7 février 1897 à Lyon (France) sous le titre Scène comique : bataille de neige (Lyon républicain, 7 février 1897). Eléments filmiques: négatif Lumière - 1 contretype Lumière - 5 copies Lumière - 2 copies Edison. Pays: France. Ville: Lyon. Lieu: rue, ville. Événement: affrontement. Genre: comédie, distraction, vue comique. Objet: bicyclette. 105. La bataille de neige / A Snowball Fight (101)

Le village de Namo : panorama pris d’une chaise à porteurs. Vue N° 1296. Panorama de la rue d’un village et de ses habitants pris d’une chaise à porteur. Opérateur: Gabriel Veyre. Date: 25 janvier 1900 - 14 février 1900. Lieu: Indochine française (aujourd"hui Vietnam), village de Namo, Annam. Projections: Programmée le 15 décembre 1900 à Lyon (France) sous le titre Indochine. - Village de Namo (vue prise d"une chaise à porteur) (Le Progrès, 16 décembre 1900). Technique: Travelling arrière. Eléments filmiques: négatif Lumière. Pays: Vietnam. Genre: villes et paysages. Sujet: enfant. Objet: pousse-pousse et chaise à porteur. Séries: Gabriel Veyre en Indochine (1899 - 1900), La route du Col des Nuages. 106. Le village de Namo : panorama pris d’une chaise à porteurs / The Namo Village: a Tracking Shot from a Sedan Chair (1296)

Colleurs d’affiches. Vue N° 677. “Un colleur d’affiches applique une affiche sur celle qu’un de ses confrères vient de coller ; fureur du premier et bataille.” Opérateur: [Alexandre Promio]. Date: septembre 1897. Lieu: France, Paris. Projections: Programmée le 30 janvier 1898 à Lyon (France) sous son titre (Lyon républicain, 30 janvier 1898). Technique: Metteur en scène : Georges Hatot. Eléments filmiques: négatif Lumière - 3 copies Lumière. Pays: France. Ville: Paris. Lieu: rue, ville. Événement: affrontement. Genre: comédie, publicité, vue comique. Séries: Les vues mises en scène par Georges Hatot (1897). 107. Colleurs d’affiches / A Billposter (677)

Écriture à l’envers. Vue N° 42. Félicien Trewey exécute un tour en écrivant les mots “Mesdames et Messieurs nos Remerciements” sur un tableau, en partant de la fin et à l’envers. Opérateur: [Louis Lumière]. Date: [16 janvier 1896] - [9 février 1896]. Lieu: France, La Ciotat, Clos des Plages. Personnes: Félicien Trewey. Projections: Programmée le 30 août 1896 à Lyon (France) sous son titre (Lyon républicain, 30 août 1896). Eléments filmiques: négatif Lumière - 2 copies Lumière. Pays: France. Ville: La Ciotat. Lieu: décor. Personnes identifiées: Félicien Trewey. Genre: spectacle. Sujet: acrobate et équilibriste. Objet: costumes. Séries: Félicien Trewey, info-five-32. 108. Ecriture à l’envers / Writing in Reverse (42) BEYOND THE JUMP BREAK: LUMIERE! PRESS KIT: BEYOND THE JUMP BREAK: LUMIERE! PRESS KIT: Institut Lumière presents LUMIÈRE! Directed by Thierry Frémaux A series of cinematographic short films by Louis Lumière, Alexandre Promio, Gabriel Veyre, Francesco Felicetti, Constant Girel, Félix Mesguich and Charles Moisson. 1895-2016 / 90 min / Black & White / France SYNOPSIS In 1895, Louis and Auguste Lumière invented the Cinématographe and shot some of the very first films in the history of moving pictures: Workers Leaving the Lumière Factory, Tables Turned on the Gardener... With their discovery of mise-en-scène, tracking shots and even special effects and remakes, they also invented the art of cinema itself! From among more than 1,400 of their films, Thierry Frémaux, director of the Cannes Film Festival and the Institut Lumière, has selected 114: universally celebrated masterpieces or previously unknown golden discoveries, restored in 4K and assembled to celebrate the legacy of the Lumières. A journey into the universe of the founders of cinema, narrated by Frémaux with passion and humour, LUMIÈRE! delivers unforgettable images and a unique view of France and the world at the dawn of the modern era; truly essential films that illuminate the world of contemporary filmmaking. *** "There was a time when the cinema emerged from the trees, burst from the sea, when the man with the magic camera stopped in squares, in cafes, when the screens opened a window onto infinity. It was the era of Louis Lumière." Henri Langlois “Louis Lumière was indeed a descendant of Flaubert, via the Impressionists, but also of Stendhal, whose mirror he carried along the way.” Jean-Luc Godard 120 YEARS OF THE CINÉMATOGRAPHE LUMIÈRE Louis and Auguste Lumière invent the Cinématographe in 1895. On March 19 of that year, they shoot their first film, " Workers Leaving the Lumière Factory ". On March 22, they present the film to the Society for the Encouragement of National Industry. Throughout 1895, largely under the direction of Louis, they shoot dozens of films, mainly in Lyon or at La Ciotat. On December 28, 1895, they screen their films in front of a paying audience for the first time. It is a resounding success. Starting the following year, they recruit cameramen and send them to the four corners of the world. Often considered merely an inventor, it is scarcely known that Louis Lumière was also a creator. From the outset, he and his cameramen would ask themselves questions as directors. The likes of Georges Sadoul, Henri Langlois and Jean-Luc Godard have all declared the existence of ‘Lumière the filmmaker’. There are 1,422 films* in total, each approximately fifty seconds long, filmed by Louis and his cameramen. This represents about twenty hours of footage. Hundreds have never been seen, and others never screened outside the era in which they were filmed. *** Established on rue du Premier-Film, Lyon in 1982, and under the presidency of Bertrand Tavernier, the Institut Lumière celebrated in 2015 the 120th anniversary of the Cinématographe Lumière with a series of events: The exhibition ‘‘Lumière ! Le cinéma inventé’’ (Spring 2015). Organised at the Grand Palais in Paris, the event was acclaimed by both critics and audiences alike. After Bologna in 2016, the touring exhibition will move to the Musée des Confluences in Lyon in 2017, followed by Buenos Aires, Evian and other cities throughout the world. The book Lumière! (2017), jointly published by Actes Sud and the Institut Lumière. And most importantly, the film LUMIÈRE!, created from a selection of 114 Lumière films, restored in 4K and narrated by Thierry Frémaux. Screened in the Grand Theatre of the Palais at Cannes in 2015 and warmly acclaimed by an international audience of some 2,000 people, the film is now making its North-American debut, at the Toronto International Film Festival. With a live narration by Thierry Frémaux, the Lumière films will once again dazzle with their power and modernity. The magic of the earliest works of the Cinématographe is finally available to all. *Inventory by Béatrice de Pastre from the CNC Film Archives. STATEMENT BY THIERRY FRÉMAUX & BERTRAND TAVERNIER 2015 marked the 120th anniversary of the Cinématographe Lumière. Now is the time to proclaim the value and cinematographic quality of these Lumière films, as well as to reiterate the importance of those ‘‘inventors’’ of cinema. ‘‘Inventors’’ in quotation marks because, without underrating the major event that occurred in Lyon-Monplaisir in 1895, we must remember that a universal discovery such as cinema was a long process, in which Muybridge, Marey, Demeny, Reynaud, and Edison were all key players. The Lumière brothers masterfully brought to fruition an idea that, as Louis Lumière said, ‘‘was in the air’’. Let us simply call it a ‘‘giant leap’’ that these pioneers made with the moving image, changing its very nature by taking these films outside, letting them discover life and projecting them in front of an audience. But this was not merely a technical advance. The Cinématographe encapsulates the whole of cinema. This selection of more than a hundred ‘little films’ confirms this proposition, revealing Lumière’s work as stemming from creative inspiration, from an inestimable imagination and vision of the world. The Cinématographe very quickly imposed its different worlds on a lively crowd. By asking themselves questions about mise-en-scène, by inventing themes that would inspire thousands of directors, by sending cameramen to the four corners of the globe, Lumière was acting as a filmmaker. So… Le siècle des Lumière – The other Age of Enlightenment: that of Louis, Auguste and Antoine, the father. An oeuvre that happily anticipates the future of cinema, and preserves its power at a time when the revolution of images is constant. Faithful to the words of Jean Renoir: ‘‘With Lumière, it is not history that is revealed, it is life. And life is something more profound. That is why these films are so important: they open the door to our imagination - precisely what today we like to call a ‘‘work of art.’’ Thierry Frémaux & Bertrand Tavernier BIOGRAPHIES THE LUMIÈRE BROTHERS The Lumière brothers, Louis (1864-1948) and Auguste (1862-1954) are among the most famous of French inventors. While their most important work was undoubtedly the invention of the Cinématographe, in 1895, they were also involved in still photography and in 1907 they invented the first color photography process, the Lumière Autochrome. THIERRY FRÉMAUX Thierry Frémaux is the director of both the Cannes Film Festival and the Institut Lumière in Lyon. For many years he has been deeply involved in the preservation of the Lumière collection (films and photography) and the restoration of the first Cinématographe movies. Frémaux compiled LUMIÈRE! with the aim of celebrating the Lumière brothers, not as inventors but as the first directors in the history of cinema. BERTRAND TAVERNIER Internationally acclaimed French director Bertrand Tavernier is Honorary President of the Institut Lumière and since 1983 been involved in the preservation of the legacy of the Lumière Brothers. As president of the institute, he acted as producer on LUMIÈRE! LUMIÈRE! – Film chapters Chapter 1 - The first films Chapter 2 - The Lyon of Lumière Chapter 3 - Childhoods Chapter 4 –France at Work Chapter 5 – France at Play Chapter 6 – Paris 1900 Chapter 7 – The World Nearby Chapter 8 – Comedy! Chapter 9 – A new century Chapter 10 – Vanguards of cinema Chapter 11 – See you soon, Lumière CREW The 114 films that comprise LUMIÈRE! were selected from the 1,422 cinematographic works produced by the Lumière Company between 1895 and 1905. A series of cinematographic short films by Louis Lumière, Alexandre Promio, Gabriel Veyre, Francesco Felicetti, Constant Girel, Félix Mesguich and Charles Moisson. Directed by Thierry Frémaux Editors - Thierry Frémaux and Thomas Valette, with the participation of Fabrice Calzettoni and Maelle Arnaud Commentary written and spoken by Thierry Frémaux Original Music - Camille Saint-Saëns Production - Institut Lumière Producers - Thierry Frémaux, Bertrand Tavernier With the participation of Laurent Cormier, Béatrice de Pastre, Laurent Mannoni, Davide Pozzi and Serge Toubiana. RESTORATION The restoration was funded by the CNC (National Center of Cinema and the moving image) through the selective assistance for the digitization of heritage cinematographic works programme. It received the support of the Total Foundation as part of its association with the Heritage Foundation. With the support of la Ville de Lyon and la Région RhôneAlpes. The restoration was conducted under the direction of the Institut Lumière and performed by Eclair Group using negative and positive elements from the collections of the Cinémathèque française, the Institut Lumière and the French film Archives of the CNC. The 4K scan was performed by the Immagine Ritrovata laboratory of Bologna (Italy). LUMIÈRE! is also supported by France 2 and France 3, Le Monde, Télérama, Première and AlloCiné. THE INSTITUT LUMIÈRE WOULD LIKE TO THANK Frédérique Bredin Audrey Azoulay Véronique Cayla Régine Hatchondo Christophe Tardieu Pierre-Emmanuel Lecerf Michelle Aubert Gérard Alaux Jean-Louis Cot Jacques Aumont Jean Douchet Jacques Gerber Philippe Jacquier and Marion Pranal Claude Lanzmann Tom Luddy Todd McCarthy Marie-Pierre Macia Dominique Païni Charles Perrin Vincent Pinel Jacques Rittaud-Hutinet Julien Rousset Alain Scheibli Jerry Schatzberg Peter Scarlett Martin Scorsese Wim Wenders As well as Denise Bamberger Max Lefrancq-Lumière Gilles Trarieux-Lumière and the Lumière family And Alice and Bernard Chardère Mijo and Raymond Chirat And everyone at the Institut Lumière ‘‘In the history of cinema, there are numerous examples of breakaway figures where all of a sudden you feel you are in the midst of something extraordinary… The most beautiful is Lumière. And it’s even more important than the fact that he invented film projection. Because here, there’s a sort of miracle. Lumière as a realist is the all-round champion. But for me, his films are truly fantastic. It’s strange because this type of the fantastic - which should be in all films - isn’t found after (Lumière). It exhausted itself, it wore itself out because after, everything was rigged. Lumière’s cinema shows life like we’d never seen it before… There are a few films by Edison but it’s striking, they are worthless. Lumière’s work isn’t realism; it belongs to the miraculous. And yet it is reality, for the first time. Then, there’s a naivety, a purity that has since been lost.’’ Maurice Pialat

MONTAGE OFFICIELLE 2010 LUMIERE ! Générique Au commencement Sortie d’usine (pas de chevaux) (91,3) Sortie d’usine (un cheval) (91,2) Sortie d’usine (deux chevaux)(91,1) Débarquement du congrès de photographes à Lyon (HC) Repas de bébé (88) Arrivée du train en gare de La Ciotat (653) Forgerons (51) Arroseur Arrosé (99) Partie d’écarté (73) Démolition d’un mur (à l’endroit) (40) Démolition d’un mur (à l’envers) (40) Lyon, ville des Lumière Panorama de l’arrivée en gare de Perrache pris du train (130) Arrivée d’un train à Perrache (127) Quai de l’Archevêché (158) Place du Pont (1126) Dragons traversant la Saône à la nage (186) Concours de boules (27) Enfances La petite fille et son chat (1100) Premiers pas de bébé (HC) Pêche aux poissons rouges (69) Petit frère et petite sœur (658) Le goûter des bébés (654) La France qui travaille Ouvriers réparant un trottoir en bitume (833) Carmaux : Défournage du Coke (122) Chaudière (20) Laveuses sur la rivière (626) Déchargement d’un navire (34) Faneurs (635) Labourage (59) Les pompiers, I : passage des pompes (778) Attelage d’un camion (627) La France qui s’amuse Voltige (194) Bains sur la Saône (562) Départ de cyclistes (33) Saut à la couverture (192) Mauvais temps au port (1096) Chamonix, la mer de glace : Descente (1207) La course en sac (109) Le retour. Aux Champs-Elysées (1020) Les Kremo : Pyramide (1044) Les Kremo : Sauts périlleux (1040) Le Monde, tout proche Suisse : Rentrée à l’étable (313) Arrivée des toréadors (259) Madrid : Danse au bivouac (266) Venise : Panorama du Grand Canal pris d’un bateau (295) Londres : Pont de Westminster (254) Liverpool : Panorama pris du chemin de fer électrique IV (707) Berllin – Friedrichstrasse (219) Dublin : Pompiers - Un incendie, II (711) Belfast, exercices de sauvetage (724) Turquie : Constantinople : Panorama de la Corne d’Or (416) Egypte : Les Pyramides (381) Turquie d’Asie : Caravane de chameaux (407) Tunisie : Le Bey de Tunis descend l’escalier du bardo (1374) Boston : Market Street (332) Chicago : Défilé de policemen (336) Mexique : Cavalier sur un cheval rétif (356) Indochine : Enfants annamites ramassant des sapèques devant la pagode des dames (1274) Indochine : Embarquement d’un bœuf (1286) Japon : Lutteurs japonais (925) Danse de jeunes filles (443) De la comédie ! Chapeaux à transformation (105) Bonne d’enfant et soldat (103) Chasseurs alpins : leçon de boxe (1396) L"amoureux dans le sac (885) Explosion en mer (829) (jusqu"à la fin de l’explosion et le remettre en entier) Explosion en mer (829) Chasseurs alpins : assaut d’un mur (177) Le scieur de bois mélomane (880) Danseuse de ballets (648) Charcuterie mécanique (107) Un siècle nouveau Panorama des rives de la Seine, IV (687) Exposition Universelle : Vue prise d’une plate-forme mobile I (1155) Puits de pétrole à Bakou : Vue de près (1035) Expérience au ballon dirigeable de S. Dumont, I Sortie (1121) Expérience au ballon dirigeable de S. Dumont, II Le ballon (1122) Déjà, le cinéma Vue prise d’une baleinière en marche (1241) Accident d’automobile (2021) Mont-Blanc : en file indienne avec les raquettes (1255) Mont-Blanc : en file indienne dans la montagne (1253) Fumerie d’opium (1270) Mexique : Duel au pistolet (35) Panorama pris d’un ballon captif (997) Essais de films en Relief (HC – Sans titre) (port de lunettes anaglyphes) A bientôt Lumière Le squelette joyeux (831) La bataille de neige (101) Lancement d’un navire (57) Le village de Namo : panorama pris d’une chaise à porteurs (1296) Centenaire de l’Arc de Triomphe (HC – Autochrome) Jeunes filles prenant le thé (HC – Autochromes) A bord du torpilleur « La Poursuivante » (HC – Autochrome) Colleurs d’affiches (677) Ecriture à l’envers (42) Reverse du montage La sortie des cinéastes Générique de fin

Film concert Finlandia (1922) (2017 film reconstruction and restoration in 4K by KAVI) (2017 arrangement of the 1922 score by Yrjö Hjelt, Jari Eskola, and Heikki Elo) (The Finnish Radio Symphony Orchestra, Helsinki Music Centre)

Finlandia: gala premiere for an international diplomatic congress at Cinema Orfeon in Genova, Italy, in April 1922. An extra screening had to be arranged since a huge crowd was left waiting outdoors.

Finlandia, finale of Act II: a stunning forward tracking shot from an icebreaker arriving into Helsinki.

Finlandia: a salmon catch.

Finlandia: lumberjacks. Finlandia (FI 1922) 120 min ”6-näytöksinen filmi Suomen maasta ja kansasta sellaisina kuin ne ulkomaalaisille esitetään.” / [A Film in Six Acts About the Country and People of Finland as to be Presented Abroad] I Metsän satu / The Saga of the Forest II Merestä kohoava Helsinki / Helsinki Emerging from the Sea III Suomen urheiluelämää / Finnish Sport Väliaika / Intermission IV Laulu viheriäisistä niityistä ja keltaisesta voista / A Song of Green Fields and Golden Butter V Hakkapeliittain jälkeläiset / Military Training VI Suomen kosket / Whitewater Finland Commissioned by: Ulkoasiainministeriö / Ministry of Foreign Affairs PC: Suomi-Filmi Oy P+D: Erkki Karu SC+commentary: Georg Theslöf CIN: Frans Ekebom, Kurt Jäger, Eino Kari, Yrjö Nyberg ED: Erkki Karu, Georg Theslöf Assistant cinematographers: Armas Fredman, Kalle Havas, A. Laitila, Eero Leväluoma, Martti Tuukka, Armas Valen Original music programme and arrangement (for a live cinema quintet): Max Hauswald (1922) Restoration: New music arrangement (for a symphony orchestra): Yrjö Hjelt, Jari Eskola, Heikki Elo (2017) Restoration: Anna Lehto, Jarmo Nyman Digitization and digital restoration in 4K: Kansallinen audiovisuaalinen instituutti, 2017 Conservator: Anna Lehto Colour definition and editing: Jarmo Nyman Digital restoration: Jani Jäderholm, Kasper Rosqvist Film scanning: Samuli Kytö Intertitles and translation: Jan-Eric Nyström Intertitle design: Mikko Kuutti In charge of the production of the reconstruction: Tommi Partanen, Pekka Tähtinen A Finland 100 jubileum event. For KAVI also a part of our celebration of the masters of Finnish cinematography. Dress rehearsal of the restoration: Forssa Silent Film Festival, screened on DCP, 31 Aug 2017. Premiere of the restoration: Helsinki Music Centre, Concert Hall / The Finnish Radio Symphony Orchestra / Kalle Kuusava, conductor, triple video screening at ProRes, 1 Sep 2017 THE MUSIC PROGRAMME: I Metsän satu / The Saga of the Forest 1. Introduction, säv. tuntematon, sov./ork. Yrjö Hjelt 2. Urpalan tytöt, säv. trad./ Aapo Similä, sov. Hjelt 3. Menuetti, säv. Erkki Melartin, ork. Hjelt 4. Koiviston polska, säv. trad., sov. Hauswald/Hjelt 5. Rannalla istuja, säv. trad., sov. Hjelt 6. Honkain keskellä / Suomen salossa, säv. Juhana Ennola, sov. Hjelt 7. Voi äiti parka ja raukka, säv. trad., sov. Hauswald/Hjelt 8. Barcarola, säv. Väinö Raitio, ork. Hjelt 9. Nocturno, säv. Heino Kaski, ork. Hjelt 10. Menuetti, säv. trad./ Heikki Klemetti, ork. Hjelt 11. Valse lente, säv. Oskar Merikanto, ork. Nils-Erik Fougstedt 12. Nocturno, säv. Otto Kotilainen, sov./ork. Hjelt 13. Tuoll’ on mun kultani, säv. trad., sov. Hauswald, ork. Hjelt 14. Metsän satu / Skogens saga, säv. Lauri Ikonen, ork. Hjelt II Merestä kohoava Helsinki / Helsinki Emerging from the Sea 15. Merellä, säv. Oskar Merikanto, sov. Eero Koskimies 16. Nylänningarnas marsch, säv. Henrik Borenius, sov. Artturi Rope, muok. Jari Eskola 17. Elegia, säv. Toivo Kuula, ork. Eskola 18. Juhlamarssi näytelmästä ”Prinsessa Ruusunen”, säv. Erkki Melartin 19. Menuetti vanhaan tapaan, säv. Leevi Madetoja, ork. Eskola 20. Häämarssi, säv. Toivo Kuula, sov. Jussi Blomstedt 21. Kansanlaulu, säv. trad./Karl Ekman, ork. Eskola 22. Balladi, säv. Fredrik Pacius, sov. Eskola 23. Illalla, säv. Yrjö Kilpinen, sov. Eero Koskimies, muk. Eskola 24. Juhlamarssi näytelmästä ”Prinsessa Ruusunen”, säv. Erkki Melartin III Suomen urheiluelämää / Sport in Finland 25. Rekognosceringsmarsch, säv. A. Stenius, sov. Heikki Elo 26. Frihetsmarsch / Vapauden marssi, säv. Toivo Saarenpää, ork. Elo 27. Sotamarssi, säv. Robert Kajanus, ork. Elo 28. Valkoisen kaartin marssi, säv. Selim Palmgren, ork. Elo 29. H.K.V. Paradmarsch, säv. H. Hedman, ork. Elo 30. Ateenalaisten laulu, säv. Jean Sibelius, ork. Elo (mukaillen Y. Hjeltin sovitusta) IV Laulu viheriäisistä niityistä ja keltaisesta voista / A Song of Green Fields and Golden Butter 31. Valssi näytelmästä Prinsessa Ruusunen, säv. Erkki Melartin 32. Vanha suomalainen polska I, säv. Oskar Merikanto, ork. Eskola 33. Tuhkimovalssi, säv. Selim Palmgren 34. Idylli, säv. Oskar Merikanto, sov. E. Koskimies 35. Pirunpolska, säv. Toivo Kuula 36. Vanha suomalainen polska II, säv. Oskar Merikanto, sov. E. Koskimies V Hakkapeliittain jälkeläiset / Military Training 37. Björneborgarnas marsch / Porilaisten marssi, säv. Christian Fredric Kress, ork. Elo 38. Savolaisen laulu, säv. Karl Collan, ork. Elo 39. Karjalan marssi, säv. tuntematon, sov. R. Kajanus 40. Vaasan marssi, säv. Karl Collan, sov. E. Koskimies, ork. Elo 41. Sotilaspoika, säv. Fredrik Pacius 42. Parolan marssi, säv. trad., sov. Artturi Rope, ork. Elo 43. Porin rykmentin marssi, säv. tuntematon, sov. E. Koskimies, ork. Elo 44. Suomalaisen ratsuväen marssi 30-vuotisessa sodassa, trad., sov. N. E. Fougstedt VI Suomen kosket / Whitewater Finland 45. Finlandia (alkuosa), säv. Jean Sibelius 46. Elegia näyt. ”Kung Kristian II / Kuningas Kristian II”, säv. Jean Sibelius 47. Berceuse / Kehtolaulu, säv. Armas Järnefelt 48. Korsspindeln / Ristilukki näyt. ”Kung Kristian II / Kuningas Kristian II”, säv. J. Sibelius. ositt. ork. Hjelt (ei esitetä konsertissa) (omitted) 49. Mélisande näytelmästä ”Pelléas ja Mélisande”, säv. Jean Sibelius 50. Svanen / Joutsen, säv. F. A. Ehrström. ork. Hjelt (ei esitetä konsertissa) (omitted) 51. Finlandia (loppuosa), säv. Jean Sibelius FROM THE FILM CONCERT HANDBILL: Finlandia (1922) The film Finlandia was commissioned by the Ministry of Foreign Affairs. Films had been used to advertise Finland as early as 1911 at the Berlin Travel Fair but the significance of the cinema grew considerably after the nation won political independence in 1917. The content was devised by Georg Theslöf, head of the Ministry’s Press Office, and the film was produced by Suomi-Film, whose chief executive officer Erkki Karu also directed it. Karu sent four teams round the country to document tourism, export industry and business. Life and landscapes in Eastern Finland were photographed by Aarne Tenhovaara assisted by Eero Leväluoma, fishing and rapids-shooting in Lapland and North Ostrobothnia by Frans Ekebom assisted by Martti Tuukka. Erkki Karu and director of photography Eino Kari assisted by A. Laitila visited farms in South Ostrobothnia and Satakunta. In Southwest Finland and the Åland Islands the director of photography was German ex-fighter pilot Kurt Jäger assisted by Carl Fager. Basic funding was provided by the Bank of Finland, but after relentless persuasion, export companies met the costs of filming their contribution. The ‘Geneva version’ of Finlandia, as it came to be known, was premiered at an international diplomatic conference in April 1922. It was well received by the international audience but also criticised for omitting culture, the arts and women’s rights. An Italian partner helped prune the film. The Finnish premiere at the Olympia Cinema in Helsinki in October of the same year was attended by a prestigious audience that included the President of the Republic, Cabinet ministers and captains of industry. Finlandia was later screened all over the world: in Europe, Russia, both North and South America, and Asia. It served as a model and inspiration for further cinematic portraits of European nations. Probably no other Finnish film has, even now, reached the multi-million audience figures of Finlandia. Jari Sedergren A film in six acts I The Saga of the Forest The section devoted to the forest industry shows trees being felled, sorted, cross-cut, dried and debarked. They are then processed into pulp and paper, after which the reels are sent to the port to be shipped. II Helsinki Rises from the Sea The sights chosen to represent the Finnish capital, Helsinki, are Three Smiths Square, the Esplanade, Market Square, Kaivopuisto Park, and the statues of Havis Amanda and The Shipwrecked. This section also shows the Cathedral, Council of State, University, Railway Station, National Theatre, Workers’ House, Bank of Finland, University of Technology, Kaleva Building and Stock Exchange. This section also includes footage of other Finnish cities: the spa and winter port of Hanko, and Olavinlinna Castle in Savonlinna. In Turku it pays a brief visit to the winter port, the Cathedral, Turku Castle, Luostarinmäki Handicrafts Museum, and the Finnish and Swedish speaking Universities. Representing industry in Tampere are the Hyppönen shoe factory and the Lapinniemi cotton mill, and in Pietarsaari the Strengberg tobacco factory. III Finnish Sport ‘Finnish sport’ focuses on the Helsinki gymnastics and sports festival held in 1921. A parade marches along the Turku highway to the Pallokenttä arena. Finlandia also shows sailing at sea, swimming and form floating at the Ursin outdoor swimming pool, and the European skating championships in Helsinki. There is a closeup of Finnish speed skater and Olympic winner Clas Thunberg. Highlights from the Finnish athletics qualifying event for the 1920 Antwerp Olympics are also covered. Great stars at the time – Paavo Nurmi, Armas Taipale, Elmer Nikander and Verner Järvinen – each make an appearance. The film also features wrestling, gymnastics, skiing, horse-riding, cross-country running and nude swimming. At the end of the section, Olympic champions returning from Antwerp get a jubilant reception, especially Hannes Kolehmainen, the first Finn to win an Olympic gold for the marathon. IV A Song of Green Fields and Golden Butter The agricultural section shows the ploughing and sowing of a field followed by hay-making and harvesting. There are cattle in the fields, cows being milked, beekeeping, chicken, pig and sheep farms. Milk is processed at a dairy, delivered and cooled, separated and churned into butter, and whey is processed as cheese. Butter is packed in barrels and cheese is ripened in boxes. In Hanko the produce is transported, stored, inspected and loaded for export. V Military Training The Finnish Defence Forces are holding a parade in Helsinki’s Senate Square on May 16. President K. J. Ståhlberg inaugurates the units’ flags. Features of the pageant include cavalry training, signal practice at coastal fortresses, and the erection of a field radio. Tanks roar at Parola, engineers build a bridge across the River Kymi, and the infantry dig a trench and gun pits. There is also footage of contemporary military sports. VI Whitewater Finland Finally the film veers towards water, providing glimpses of many rapids and falls. There is fishing at a salmon weir and fly fishing in Central Finland. Tourists shoot rapids on the River Oulu, and loggers display their skills at the Pirttikoski falls. Restoration of the film in 2017 Finlandia was originally released as a film in six acts. In the 1920s it was updated and shortened, and parts of it were used in other productions. Before being restored, the photographic material had been stored in brief fragments. The material for the 2017 edition was put together in accordance with the existing souvenir programmes, contemporary reviews and documents in the Foreign Ministry archives. The sketchy insert texts were similarly padded out. Photographic material was not found for all the scenes, and it is not certain whether all the shots now included were in the premiere version. Fragments of nitrate-based negatives were used as the basic material and supplemented with duplicate material that had been copied later. One tenth of an original screening print, i.e. 220 metres, has been preserved. The restored edition has been tinted in orange in accordance with the original colour template. The projection speed of the film shot with a hand-cranked camera varies. A speed of 20 frames per second was estimated for this copy and achieved by doubling frames. The Finlandia score The music of Finlandia radically enhances the picture created by the film of the early years of Finnish independence. It provides a rich and versatile picture of the music sung, played and appreciated at the time, and not surprisingly, it expresses national sentiments in many ways, both directly and indirectly. The composers include Jean Sibelius, Oskar Merikanto, Erkki Melartin, Toivo Kuula and Väinö Raitio. 1922 The music was compiled and arranged for quintet (piano, two violins, cello and double bass) by Max Hauswald in 1922 from contemporary classical music, folk music and marches – from some 50 works or parts thereof in all. Like the film, the score is divided into six parts in keeping with the ongoing topic or mood. The connection between image and music is not always very obvious; often it derives from the title of a piece or the words of a song arranged as an instrumental version. At least as important as the dramaturgical aspect in the choice of music appears to have been the attempt to give the world a representative picture of Finnish music, and seeing that the film would be widely shown abroad, there was good potential for this. In each part, the music proceeds from beginning to end without a break. Where necessary, Hauswald has spliced works together with brief bridge passages to make the transitions smooth. Sometimes this has necessitated the cuttingof as many as several bars at the beginning or end of a specific work, and hence they are not always heard in full. Many of the works were originally for piano, or songs with piano accompaniment. These Hauswald used as such, with the stringed instruments mainly doubling the piano or playing the vocal melody. He made piano transcriptions of the orchestral works, incorporating the strings in the same way as in the pieces scored for piano. The numerous military marches heard in the film probably adhered to the wind-band arrangements in use at the time. Hauswald’s most personal contribution can briefly be detected in the inserts connecting the pieces and in a few of the folk song arrangements. 2017 In the restored version of the film now to be screened, the quintet has been replaced by a symphony orchestra, but otherwise the aim has been to adhere to Hauswald’s score. The orchestral works now sound in all their glory. Many other works orchestrated later in the 20th century are suitable as such, yet about half the music had to be re-arranged or re-orchestrated. This was done by Yrjö Hjelt (partsI and VI), Jari Eskola (II and IV) and Heikki Elo (III and V). The arrangers have done their best to respect the spirit of the times. The durations of the restored sections differ considerably from the originals, and to a surprising degree in both directions. This is explained by the amount of photographic material preserved and used, but also by decisions over the projection speed. In order to compensate for the discrepancies, the music of parts II, III, IV and V has been lengthened by repeats, while in parts I and VI, several minutes had to be cut. In part I, this was done by disregarding the repeats and half of Otto Kotilainen’s Nocturne (No. 12). In part VI, Sibelius’s The Song of the Spider (No. 48) and Ehrström’s The Swan (No. 50) had to be omitted entirely. Sibelius’s Elegia (No. 46) and Mélisande (No. 49) further had to be shortened, but this could be done in a way that seemed natural. The Sibelius trustees kindly gave their consent to these changes. Most of the works in Hauswald’s score have lost none of their vitality. In addition to the bestknown ones it includes such lesser-known gems as the Barcarolle by Väinö Raitio (No. 8) and The Forest’s Tale by Lauri Ikonen (No. 14). Yrjö Hjelt AA: Finlandia (1922) was financed by the Ministry of Foreign Affairs to celebrate the 5th anniversary of Finnish independence and to promote the country all over the world with images and music. The original negatives and vintage prints were destroyed in the 1959 Adams Filmi fire, but the surviving coverage of the footage was comprehensive in the archives of the Suomi-Filmi company which produced the documentary feature. The footage has always been available in an unreconstituted workprint state, precious as historical material for documentarists. Even contemporary international audiences know the shots of the icebreaker arriving in Helsinki included in Peter von Bagh"s Helsinki Forever and Mark Cousins"s A Story of Children and Film. Today was the first opportunity in some 90 years for the general audience to see the original Finlandia, or at least a faithful reconstruction produced with good taste and judgement. I belong to the ones that have visited only the unreconstituted workprint (on video and screened on film) and saw the restoration for the first time today. Finlandia is the most important Finnish film restoration achievement of the year. For the native audience Finlandia is deeply moving, a catalogue of images from the childhood of an independent nation. Many motifs have since turned into tourist clichés and stereotypes, but here they are still new, naive, and full of life. It is like watching a healthy five-year-old at play. The art of the documentary film in Finland began 2–4 years later when the brothers Heikki Aho and Björn Soldan established their company and started filming. Erkki Karu, the CEO of Suomi-Filmi company, was a visionary idea man but he had probably not yet seen Flaherty"s Nanook (its Finnish premiere was in November 1923), the city symphony movement had not started, and although Vertov started his Kino-Pravda series also in 1922, such films would stay banned for decades in anti-Bolshevist Finland. Finlandia the film is linear, stolid, conventional, and obvious. We do not look for experimental insight in film montage here. But the cinematographers are good, and there are strikingly shot compositions. There are also good action sequences cut with a fine sense of continuity editing. An example is the mounting of a field radio station in the military manoeuver section. This and some other scenes are also documentary displays of an esprit de corps. Also in the funniest scene of the film, the wrestling match, the cinematographer has known where to put the camera. In an official spectacle like this signs of trouble are missing. In 1922 Finland was trying to ignore the deep wounds of four years ago. There are only symbolical references, most importantly in section V starting with the military parade of 16 May. It was the annual parade day of the Finnish defense forces since the end of the civil war of 1918, celebrating the victory of the white guards over the red. That practice lasted until 1939 when there was a new urgency in emphasizing national unity. In certain silent films music provided at least 50% of their rousing impact, and Finlandia is one of them. There had been written scores to Finnish films before, most importantly for Häidenvietto Karjalan runomailla ([Karelian Wedding in the Land of Poetry], 1921) the year before, but Finlandia is probably unique in that its score was published in print. Printed scores were needed to follow copies of the film all over the world. Yrjö Hjelt, Jari Eskola, and Heikki Elo have made a splendid job in arranging the original quintet score for a symphony orchestra. Most of the some 50 music themes are familiar: the score was intended as a showcase of the greatest tunes of the golden age of Finnish national romantic music. But for us today there are also discoveries, unjustly forgotten gems, such as Väinö Raitio"s eloquent "Barcarola". And as for the familiar titles, we hear them all the time on the radio, on television, and as background music, but it is completely different to hear them played live by a symphony orchestra. Oskar Merikanto"s "Merellä" ("At Sea") is a popular song, but in this arrangement there was panache as it opened the "Helsinki Emerging from the Sea" section. And, typically for this film, it was a naive but inspired idea to have Jean Sibelius"s "Finlandia" as the sound for the Imatra falls in the final section. It has the sound of an irresistible force. In the section we see several mighty falls then wild and free, now long since tamed for power plants. "Finlandia" the composition is sometimes overused, but it was born again in the interpretation of the RSO. The joy of play was the overwhelming impression of this moving film concert. The restoration was a huge three-year project for the film and digital experts Anna Lehto, Jarmo Nyman, Jani Jäderholm, Kasper Rosqvist, Samuli Kytö, Jan-Eric Nyström, Mikko Kuutti, Tommi Partanen, and Pekka Tähtinen, and the film looks good in this edit. But the projection circumstances at the Helsinki Music Center do not do justice to the visual quality of films. BEYOND THE JUMP BREAK: THE HANDBILL INTRODUCTION IN FINNISH: BEYOND THE JUMP BREAK: THE HANDBILL INTRODUCTION IN FINNISH: Finlandia (1922) Finlandia-elokuva valmistettiin ulkoministeriön tilauksesta. Suomi mainosti elokuvan avulla jo Berliinin matkailumessuilla vuonna 1911, mutta kansakunnan itsenäistymisen jälkeen elokuvan merkitys kasvoi entisestään. Finlandian sisällön suunnitteli ulkoministeriön sanomalehtiosaston päällikkö Georg Theslöf, ja sen valmisti Suomi-Filmi, jonka toimitusjohtaja Erkki Karu myös ohjasi elokuvan. Karu lähetti neljä kuvausryhmää ympäri maata dokumentoimaan turismia, vientiteollisuutta sekä elinkeinoelämää. Itä-Suomen maisemia ja toimintoja kuvasi Aarne Tenhovaara, apulaisenaan Eero Leväluoma. Kalastusta ja koskenlaskua Lapissa sekä Perä-Pohjolassa filmasi puolestaan Frans Ekebom, apulaisenaan Martti Tuukka. Ohjaaja Karu sekä kuvaaja Eino Kari, apulaisenaan A. Laitila, vierailivat Etelä-Pohjanmaan ja Satakunnan maatiloilla. Varsinais-Suomessa sekä Ahvenanmaalla ilmailua filmasi saksalainen ex-sotalentäjä Kurt Jäger apulaisensa Carl Fagerin kanssa. Perusrahoitus tuli Suomen Pankilta, mutta sinnikkään suostuttelun myötä myös vientiyritykset maksoivat esiintymisestään osuuden. Finlandian nk. Genovan versio sai ensiesityksensä kansainvälisessä diplomaattikonferenssissa huhtikuussa 1922. Se sai hyvän vastaanoton kansainväliseltä yleisöltä, mutta keräsi myös kriittisiä huomioita kulttuurin, taiteen ja naisten tasa-arvon poisjäännistä. Italialainen yhteistyökumppani auttoi tiivistämään elokuvaa, ja Finlandia sai Suomen ensiiltansa lokakuussa samana vuonna. Elokuvateatteri Olympiassa Helsingissä oli paikalla arvovaltainen joukko aina tasavallan presidentistä hallitukseen ja elinkeinoelämän johtoon. Finlandiaa esitettiin myöhemmin laajalti kaikkialla maailmassa: Euroopassa, Venäjällä ja Pohjoissekä Etelä-Amerikassa ja myös Aasiassa. Se toimi esikuvana muille kansakuntaelokuville ja innoitti niiden valmistamista Euroopassa. Mikään suomalainen elokuva ei liene vieläkään saavuttanut Finlandian miljooniin ulottuvaa katsojamäärää. Jari Sedergren Elokuva jakautuu kuuteen jaksoon: I Metsän satu Metsäteollisuutta kuvaavassa jaksossa tukkeja kaadetaan, lajitellaan, katkotaan, kuivataan ja kuoritaan. Tehdasprosessissa niistä tehdään selluloosaa ja paperia, minkä jälkeen rullat viedään sataman kautta vientiin. II Merestä kohoava Helsinki Pääkaupungin kuvaukseen ovat nähtävyyksistä päässeet Kolmen sepän aukio, Esplanadi, Kauppatori, Kaivopuisto ja Havis Amandan sekä Haaksirikkoisten patsaat. Helsingistä esitellään myös Suurkirkko, valtioneuvosto, yliopisto, rautatieasema, Kansallisteatteri, työväentalo, Suomen pankki, Teknillinen korkeakoulu, Kalevan talo ja Pörssitalo. Jakso kuvaa myös muita Suomen kaupunkeja: Hangosta nähdään kylpylaitos ja talvisatama, Savonlinnasta Olavinlinna. Turussa pistäydytään talvisatamassa, Tuomiokirkossa, Linnassa, Luostarinmäellä ynnä suomalaisella sekä ruotsalaisella yliopistolla. Tampereen teollisuudesta esitellään Hyppösen kenkätehdas sekä Lapinniemen puuvillatehdas, Pietarsaaresta Strengbergin tupakkatehdas. III Suomen urheiluelämää Kansallisessa urheilukuvaelmassa esitellään Helsingin Voimistelu- ja urheilujuhlat vuodelta 1921. Tapahtuman kulkue matkaa Turuntietä, ja urheilijat järjestäytyvät juhlimaan Pallokentälle. Finlandiassa kuvataan myös purjehdusta merellä, uintia ja kuviokelluntaa Ursinin uimalassa sekä Pitkänsillan rannassa pidetyt luistelun Euroopan mestaruuskilpailut. Lähikuvaan on päässyt suomalainen pikaluistelija ja olympiavoittaja Clas Thunberg. Jaksossa dokumentoidaan osin Eläintarhan yleisurheilukilpailut, joissa karsittiin osallistujia vuoden 1920 Antwerpenin olympialaisiin. Aikansa urheilijatähdistä näyttäytyvät Paavo Nurmi, Armas Taipale, Elmer Nikander ja Verner Järvinen. Esittelyssä on myös kotimainen paini, voimistelu, hiihto, ratsastus, maastojuoksu ja alastonuinti. Osion lopussa Antwerpenista palaavat urheilijat saavat riemuvastaanoton: mitalisteja juhlitaan, heistä erityisesti Hannes Kolehmaista ensimmäisen suomalaisen maratonin olympiakullan johdosta. IV Laulu viheriäisistä niityistä ja keltaisesta voista Maatalousosiossa peltoa kynnetään ja kylvetään, ja myöhemmin heinä sekä vilja korjataan. Karja laiduntaa, lehmät lypsetään, ja kuvissa esitellään suomalaista mehiläis-, kana-, sika- ja lammastaloutta. Meijerissä kuvataan maidon jalostusta: elintarvike vastaanotetaan ja jäähdytetään, separoidaan, kirnutaan voiksi ja hera jalostetaan juustoksi. Voi pakataan tynnyreihin, ja juuston kypsytystä muoteissa kuvataan. Hangon satamassa seurataan tuotteiden kuljetusta, varastointia, tarkastusta ja lastausta vientiin. V Hakkapeliittain jälkeläiset Helsingin Suurtorilla vietetään toukokuun 16. päivän paraatia: aselajit esittäytyvät ja presidentti K. J. Ståhlberg vihkii yksiköiden lippuja. Kuvaelmassa seurataan muun muassa ratsuväen koulutusta, viestitysharjoittelua rannikkolinnakkeissa ja kenttäradion pystytystä. Parolassa jylläävät panssarit, pioneerit rakentavat lautan Kymijoen ylitykseen ja jalkaväki kaivaa juoksuhaudan sekä tuliasemia. Ohessa nähdään myös kuvausta ajan sotilasurheilusta. VI Suomen kosket Elokuvan lopussa piipahdetaan vetten äärellä: kuvissa vilahtavat Imatrankoski, Vallinkoski, Kemijoen Autinköngäs, Pirttikoski, Mankalan kosket, Voikan koski, Tammerkoski, Oulujoen Merikoski. Ohessa seurataan kalastusta Kemijoen lohipadolla ja perhokalastuksen harrastajia Viitasaaren Huopanankoskella. Turistit pääsevät laskemaan koskea Oulunjoella ja tukkitaiturit esittelevät taitojaan Pirttikoskella. Elokuvan restaurointi vuonna 2017 Finlandia esitettiin alun perin kuusinäytöksisenä elokuvana. 1920-luvulla elokuvaa uudistettiin ja lyhennettiin, ja sen osia käytettiin muissa tuotannoissa. Ennen restaurointia kuvamateriaali oli säilynyt lyhyinä katkelmina. Vuoden 2017 laitosta varten koottiin kuvamateriaali säilyneiden käsiohjelmien, aikalaisarvostelujen sekä Ulkoministeriön arkistossa säilyneiden asiakirjojen mukaisesti. Puutteellisesti säilyneitä välitekstejä täydennettiin myös näiden pohjalta. Kaikkiin kohtauksiin ei löytynyt kuvamateriaalia, ja on epävarmaa, ovatko kaikki mukana olleet otokset olleet ensi-iltaversiossa. Lähtömateriaalina käytettiin katkelmina nitraattipohjaista kuvanegatiivia, jota täydennettiin myöhemmin kopioiduilla duplikaattimateriaaleilla. Alkuperäisestä esityskopiosta on säilynyt 220 metriä eli kymmenesosa. Restauroitu laitos on sävytetty oranssilla alkuperäistä värimallia noudattaen. Käsivaralla kuvatun teoksen esitysnopeus vaihtelee. Tätä kopiota varten nopeudeksi arvioitiin 20 kuvaa sekunnissa. Se on toteutettu kahdentamalla ruutuja. Kansallinen audiovisuaalinen instituutti kiittää: Matti Harju (Järvenpään taidemuseo), Jukka Heinonen, Yrjö Hjelt, Matti Lukkarila, Tuomas Ravea (Meijerimuseo), Päivi Sadevuo, Marjo Seppä, Lauri Tykkyläinen Finlandia-elokuvan musiikista Finlandia-elokuvan musiikki syventää olennaisesti filmin välittämää kuvaa Suomesta itsenäisyyden alkutaipaleella. Se avaa monipuolisesti sitä mitä tuolloin laulettiin, soitettiin ja arvostettiin, eikä ole yllättävää, että kansalliset tunnot ilmenevät siinä monin tavoin suorasti tai epäsuorasti. Säveltäjiä ovat mm. Jean Sibelius, Oskar Merikanto, Erkki Melartin, Toivo Kuula ja Väinö Raitio. 1922 Musiikin koosti ja sovitti kvintetille (piano, kaksi viulua, sello ja kontrabasso) Max Hauswald vuonna 1922 ajan taidemusiikista, kansanmusiikista ja marsseista, kaikkiaan noin viidestäkymmenestä teoksesta tai teoksen osasta. Musiikki on jaettu elokuvan mukaisesti kuuteen osaan, jotka myötäilevät kulloistakin aihepiiriä tai tunnelmaa. Kuvan ja musiikin yhteys ei aina ole kovin ilmeinen; usein se perustuu teoksen nimeen tai instrumentaaliksi sovitetun laulun tekstiin. Dramaturgisen näkökulman ohella musiikkivalinnoissa lienee ollut vähintään yhtä tärkeätä antaa maailmalla edustava kuva suomalaisesta musiikista, mihin ulkomaillakin runsaasti esitetty elokuva tarjosi hyvät mahdollisuudet. Musiikki etenee kussakin osassa katkeamattomana alusta loppuun. Tarvittaessa Hauswald on liittänyt teokset toisiinsa lyhyin välikkein niin, että siirtyminen tapahtuu sulavasti. Joskus tämä on vaatinut useammankin tahdin poistamista yksittäisen teoksen alusta tai lopusta, mistä syystä niitä ei aina kuulla kokonaisina. Teoksista monet ovat alkujaan pianosävellyksiä tai pianosäestyksellisiä lauluja. Niitä Hauswald on käyttänyt sellaisenaan jousisoitinten lähinnä kaksintaessa pianotekstuuria tai soittaessa laulun melodiaa. Orkesteriteoksista hän on tehnyt pianolle transkriptiot, joihin jouset liittyvät samaan tapaan kuin pianolle sävellettyjen kappaleiden kohdalla. Elokuvan kuluessa kuultavat lukuisat sotilasmarssit seurailevat todennäköisesti tuolloin käytössä olleita puhallinorkesterisovituksia. Hauswaldin omin ääni vilahtaa kappaleita yhdistävien välikkeiden lisäksi muutamassa kansanlaulusovituksessa. 2017 Nyt esitettävä elokuvan restauroitu versio saa rinnalleen musiikin, jossa kvintetti on korvattu sinfoniaorkesterilla, mutta muuten pyrkimyksenä on ollut seurata Hauswaldin koostetta. Orkesterille sävelletyt teokset soivat nyt koko komeudessaan. Moni muukin myöhemmin 1900-luvulla orkestroitu teos soveltuu tähän yhteyteen, mutta silti noin puolet koosteesta oli sovitettava tai orkestroitava uudelleen. Tästä tehtävästä ovat vastanneet Yrjö Hjelt (osat I ja VI), Jari Eskola (II ja IV) ja Heikki Elo (III ja V). Sovitukset on pyritty toteuttamaan ajan henkeä kunnioittaen. Restauroidun filmin osien kestot ovat muuttuneet alkuperäisistä ja poikkeavat musiikin vastaavista huomattavan paljon ja yllättävästi kumpaankin suuntaan. Tämä selittyy säilyneen ja käytetyn kuvamateriaalin määrällä, mutta liittyy myös kuvanopeuksiin. Erojen kompensoimiseksi osien II, III, IV ja V musiikkia on pidennetty kertauksin. Osissa I ja VI musiikkia on sen sijaan pitänyt lyhentää useita minuutteja. I osassa tämä on ratkaistu poistamalla kertauksia sekä puolet Otto Kotilaisen Nocturnosta (no. 12). VI osan kohdalla oli Sibeliuksen Ristilukista (no. 48) sekä Ehrströmin Joutsenesta (no. 50) luovuttava kokonaan. Sibeliuksen Elegiaa (no. 46) ja Mélisandea (no. 49) oli lisäksi lyhennettävä, mikä on kuitenkin voitu toteuttaa luontevasti. Sibelius-kollegio on myötämielisesti antanut luvan tehtyihin muutoksiin. Suurin osa Hauswaldin koosteeseen sisältyvistä teoksista on säilyttänyt elinvoimansa näihin päiviin asti. Tunnetuimpien teosten lisäksi joukossa on vähemmin tunnettuja helmiä, kuten Väinö Raition Barcarolle (no. 8) ja Lauri Ikosen Metsän satu (no. 14). Yrjö Hjelt

Napapiirin sankarit 3 / Lapland Odyssey 3

Napapiirin sankarit 3. Trekking at Pallas. Jussi Vatanen (Janne), Timo Lavikainen (Räihänen), Heidi Lindén (Hanna), Santtu Karvonen (Kämäräinen). Photo Mikko Rasila © 2016 Yellow Film.

Napapiirin sankarit 3. Swamp football at Vuokatti. Players include Taneli Mäkelä (Timo) and Pamela Tola (Inari). Photo Mikko Rasila © 2016 Yellow Film. Do click the images to enlarge them. Polcirkelns hjältar 3 / [Heroes of the Polar Circle 3] FI 2017. PC: Yellow Film & TV Oy. P: Olli Haikka, Jarkko Hentula. D: Tiina Lymi. SC: Pekko Pesonen. CIN: Teppo Högman. AD: Otso Linnalaakso. Cost: Riitta-Maria Vehman. Makeup: Laura Rantaniemi. M: Lauri Porra. Theme song: "Menolippu" ("One Way Ticket", comp. Hank Hunter, Jack Keller 1959, Finnish lyrics by Saukki 1965, reinterpretation by Virve Rosti in 1979, inspired by Frank Farian"s international disco hit arrangement for Eruption, featuring Precious Wilson), 2017 arrangement by Pyry Pohjanpalo, original performance by Mira Luoti for this movie and its music video trailer (2017). S: Pekka Karjalainen. ED: Iikka Hesse. C: Jussi Vatanen (Janne), Pamela Tola (Inari), Timo Lavikainen (Räihänen), Santtu Karvonen (Kämäräinen), Kari Ketonen (Mikko), Heidi Lindén (Hanna), Jarkko Niemi (Ilkka), Taneli Mäkelä (Timo), Paavo Kinnunen (Kai), Kaisa Hela (Saana), Janne Kinnunen (Teemu), Jani Volanen (Kittilän runkkareiden pomo). Loc: Pallas and Vuokatti. Distributed in 4K DCP by Oy Nordisk Film Ab with Swedish subtitles (n.c.). Premiere: 23 Aug 2017. Viewed at Tennispalatsi Scape (premiere week), Helsinki, 26 Aug 2017. Last year this comedy film was announced with declarations such as: "In Finland"s jubilee year 2017 a saga of survival which the entire nation has been waiting for". "The first trailer of the national event movie now released". "Finland prepares to celebrate the centenary of its independence in the forthcoming year. In honour of the jubilee the screens will be hit already for the third time by a national survival saga which the entire Finland is impatiently waiting for. Hardly ever has there been such a realistic account of the tragic destinies and the gutsy character of the boys of the North in the great battles of life – not forgetting an engrossing sense of humour which touches the hearts of the entire people in the colours of white and blue." The funny reference was to the forthcoming third film adaptation of The Unknown Soldier, about Finns in World War II, to be released in late October. This film is the third of a comedy franchise, about a bunch of losers who in the first film, Napapiirin sankarit (2010), failed to provide the home with a DVR. In the second film (which I haven"t seen) the guys are in search of a missing baby. In this third work, the male protagonist-antihero Janne (Jussi Vatanen) is in search of himself. The protagonists live in Lapland, in the heart of one of the most popular tourist districts, the magnificent Pallas-Yllästunturi National Park. Tourism in Lapland is one of the fastest growing industries in Finland. For instance tourism from Japan and China is rapidly growing. The treks and the ski tracks are international today. Globalization is not on display in this film, but indirectly one can sense the buzz in the growing community of the tourism professionals, the impatient violence erupting in a humoristic way in fierce swamp football matches. The impatience is incarnated in Inari (Pamela Tola), frustrated in being at home with children. The theme of young mothers" career troubles is central to the film. The approach is that of a crazy farce, but the expression of issues of injustice and discrimination is loud and clear. The director is Tiina Lymi whose feature film debut as a director was Äkkilähtö last year, preceded by the witty short Naisen nimi (2015). Comedy of all kinds is the most difficult genre, and Lymi and her team know what they are doing. Here they are doing crazy comedy. I was even thinking about Jerry Lewis who died a week ago on Sunday. In comedy you need to take chances. You take risks. You court madness. I was also thinking about Spede Pasanen (producer, star) and Jukka Virtanen (director, screenwriter) who 50 years ago made a parody to the 50th anniversary of Finnish indepencence, Pähkähullu Suomi [Totally Mad Finland], an avalanche of tourist cliché spoofs of our land. Finland is a nature-loving country, and in a sense we have never left the forest. An essential part of us is still there. We live increasingly in cities, but in the forest or in the wilderness we feel at home. That is also the meaning of the odyssey of Janne (Jussi Vatanen) who has lost his sense of who he is. Parodically, he is following the teachings of Paolo Coelho, but actually he is just doing what millions of us are traditionally doing anyway. On his trek Janne is looking for a retreat for some quiet contemplation in the awesome nature of Lapland, but from the outset his odyssey is sabotaged by his best friends Räihänen (Timo Lavikainen), a body-builder, and Kämäräinen (Santtu Karvonen), equipped with a sound blaster. No Thoreau"s Walden experience will be possible. The structure of the film is a parallel montage between Inari"s finally successful struggle in finding a new position in her work community and Janne"s growing resignation in finding even a peace of mind. In the first film of this series I was struck by the gravity of the theme of alienation and marginalization beyond the wild and crazy farce surface. The same goes here. The strongest performance is that of Jussi Vatanen as Janne. It is a memorable account of depression. It is balanced and highlighted by the irrepressible joy of life in his surroundings. I saw this film on Finnish Nature Day. This film is a wild satire on our estrangement from nature. We see magnificent views of nature, but the way of life on display is contrary to any genuine feeling for nature. Issues of the ecological catastrophe are not discussed, but the general attitude is about living like there is no tomorrow. Might this be a factor in Janne"s profound depression who in his profession has been observing how we turn the nature into our playground? At the end of the film he decides to quit his job and stay at home with children while Inari in her organization gets the promotion she has been fighting for. In the 15 minutes cocktail of commecials and trailers preceding the feature the highlight was the new, second trailer for The Unknown Soldier (2017), powerfully moving (different from the first trailer released on 1 June 2017). There was also a grandiloquent Dolby Atmos announcement in which the denatured quality of the image was underlined. The visual quality of the presentation: I was sitting in the first row in front of Finland"s biggest screen, mercilessly for such a review, and the image looked great. The greens of nature are the cruellest challenge for digital cinematography, and while the greens did not always look perfect, one could find the occasionally slightly strange hues adequate for a satire of our estrangement from nature. BEYOND THE JUMP BREAK: DATA FROM ELONET: BEYOND THE JUMP BREAK: DATA FROM ELONET: M 1 Tiina Lymi ohjaus M 2 Olli Haikka tuottaja M 3 Jarkko Hentula tuottaja M 4 Pekko Pesonen käsikirjoitus M 5 Teppo Högman kuvaus M 6 Iikka Hesse leikkaus M 7 Pekka Karjalainen äänisuunnittelu M 8 Lauri Porra säveltäjä M 9 Otso Linnalaakso lavastus M 10 Riitta-Maria Vehman pukusuunnittelu M 11 Laura Rantaniemi maskeeraussuunnittelu M 12 Sirkka Rautiainen linjatuottaja M 13 Dome Karukoski executive-tuottaja M 14 Pekko Pesonen executive-tuottaja M 15 Jorma Reinilä executive-tuottaja M 16 Jussi Vatanen executive-tuottaja M 17 Jouni Mutanen 1. apulaisohjaaja M 18 Saara Kankaanpää 2. apulaisohjaaja M 19 Tiina Väisänen tuotantokoordinaattori M 20 Jarkko Liikanen 1. kamera-assistentti M 21 Niklas Kanervo 2. kamera-assistentti M 22 Jon Soldehed videoassistentti M 23 Jon Soldehed DIT M 24 Kati Suhonen kuvaussihteeri M 25 Mikko Leinonen B-kamera M 26 Ville Hyvönen helicam-kuvaaja M 27 Marco Godles helicam-pilotti M 28 Tuomas Pietinen (II) helicam-pilotti M 29 Timo Kaukolampi helicam-assistentti M 30 Sami Mäntymaa valaisija M 31 Kari Malmio best boy M 32 Lauri Tuura valomies M 33 Juha Niska key grip M 34 Aki Laulajainen grip-assistentti M 35 Pekka Karjalainen äänittäjä M 36 Olli Pärnänen äänittäjä M 37 Ilkka Kiukas puomioperaattori M 38 Jorma Kaulanen ääniassistentti M 39 Ahti Pursiainen apulaislavastaja M 40 Rhea Pölkki hankkiva rekvisitööri M 41 Laura Honkanen kuvausrekvisitööri M 42 Teija Rissanen puvustaja M 43 Hanna Ilkko apulaismaskeeraaja M 44 Jenni Aejmelaeus-Pyysing kampaaja M 45 Riikka Virtanen SFX-maskiosat M 46 Saara Räisänen SFX-maskiosat M 47 Konsta Mannerheimo erikoistehostekoordinaattori M 48 Jakke Huovinen erikoistehosteteknikko M 49 Jari Rinne erikoistehosteteknikko M 50 Raine Toikkanen erikoistehosteteknikko M 51 Sami Haartemo VFX-koordinaattori M 52 Inari Niemi dramaturgi M 53 Jorma Kaulanen murrekonsultti M 54 Reka Kontio stunt-koordinaattori M 55 Snoopy Sunela stunt-koordinaattori M 56 Anselmi Kaisanlahti stunt M 57 Aarni Pahajoki stunt M 58 Tom Laasonen Timo Lavikaisen kuntovalmentaja M 59 Ville-Pekka Hirvonen bodydouble-vaeltaja M 60 Sami Juntunen bodydouble-vaeltaja M 61 Ari Lehtinen (IV) bodydouble-vaeltaja M 62 Ella Klemola Pamela Tolan bodydouble M 63 Rami Ilola Kari Ketosen käsidouble M 64 Pihla Pakisjärvi Lumin bodydouble M 65 Enni Kananen lapsinäyttelijän assistentti M 66 Ulle Kyllönen lapsinäyttelijän assistentti M 67 Virpi Pakisjärvi lapsinäyttelijän assistentti M 68 Mika Pakisjärvi lapsinäyttelijän assistentti M 69 Kimmo Kaamanen make up- ja pukubussin kuljettaja M 70 Hessu Tönkyrä järjestäjä Lapin kuvausryhmä M 71 Mikko Haapapuro runner Lapin kuvausryhmä M 72 Jani Isokangas catering Lapin kuvausryhmä M 73 Mikko Lipponen catering Lapin kuvausryhmä M 74 Pekka Tuononen helikopterilentäjä Lapin kuvausryhmä M 75 Marko Karvonen tuotantokoordinaattori Vuokatin kuvausryhmä M 76 Teemu Karvonen järjestäjä Vuokatin kuvausryhmä M 77 Milla Karjalainen 3. apulaisohjaaja Vuokatin kuvausryhmä M 78 Sami Pyy järjestäjän assistentti Vuokatin kuvausryhmä M 79 Joni Immonen runner Vuokatin kuvausryhmä M 80 Juho Mulari runner Vuokatin kuvausryhmä M 81 Milla-Maria Kyllönen catering Vuokatin kuvausryhmä M 82 Pasi Tervo catering Vuokatin kuvausryhmä M 83 Mikko Härkönen valomies Vuokatin kuvausryhmä M 84 Mervi Keränen lavastusassistentti Vuokatin kuvausryhmä M 85 Minna Riikonen lavastusassistentti Vuokatin kuvausryhmä M 86 Marika Pekkarinen pukuassistentti Vuokatin kuvausryhmä M 87 Roosa Suutari pukuassistentti Vuokatin kuvausryhmä M 88 Heidi Turpeinen pukuassistentti Vuokatin kuvausryhmä M 89 Pirita Norvanto maskiassistentti Vuokatin kuvausryhmä M 90 Maija Seppänen maskiassistentti Vuokatin kuvausryhmä M 91 Annimari Ärjä maskiassistentti Vuokatin kuvausryhmä M 92 Milla Pajari maskiharjoittelija Vuokatin kuvausryhmä M 93 Heikki Piirainen (II) pintapelastusyksikkö Vuokatin kuvausryhmä M 94 Sirkka Rautiainen 1. apulaisohjaaja Helsingin kuvausryhmä M 95 Johanna Vuorihovi tuotantokoordinaattori Helsingin kuvausryhmä M 96 Eero Piitulainen kuvauspaikan etsintä Helsingin kuvausryhmä M 97 Aila Mulari järjestäjä Helsingin kuvausryhmä M 98 Petri Kiljunen 1. kamera-assistentti Helsingin kuvausryhmä M 99 Paco Bouazza 2. kamera-assistentti Helsingin kuvausryhmä M 100 Paco Bouazza DIT / videoassistentti Helsingin kuvausryhmä M 101 Jenni Riutta kuvaussihteeri Helsingin kuvausryhmä M 102 Rami Ilola valomies Helsingin kuvausryhmä M 103 Ninni Kilponen catering Helsingin kuvausryhmä M 104 Jorma Reinilä controller M 105 Harri Hytönen taloushallinto M 106 Kare Kotiranta tilintarkastaja M 107 Sanna Tuovinen toimistopäällikkö M 108 Laura Koivisto toimistopäällikkö M 109 Visa Heinonen (II) yhteistyökumppanihankinta M 110 Juha Vuorio yhteistyökumppanihankinta M 111 Sanna Rantanen tiedotus M 112 Saija Viitala tiedotus M 113 Jussi Rautaniemi teaserin ja trailerin leikkaus M 114 Mikko Rasila (II) still-kuvaaja M 115 Krista Moisio somevastaava M 116 Tiina Jussila nettisivut M 117 Kaisa Pätilä nettisivut M 118 Olli Pärnänen dialogileikkaus M 119 Pekka Karjalainen äänileikkaus M 120 Tapio Liukkonen foley-artisti M 121 Pietu Korhonen miksausassistentti M 122 Pekka Karjalainen miksaus M 123 Tommi "Master Fader" Vainikainen musiikin äänitys ja miksaus M 124 Rosku Lohiniva äänitysassistentti M 125 Lauri Porra muusikko M 126 Markus Hohti muusikko M 127 Olli Krogerus muusikko M 128 Tommi Vainikainen muusikko M 129 Tuomas Wäinölä muusikko Lähde M 130 Tommi Vainikainen ohjelmointi M 131 Eppu Kosonen ohjelmointi M 132 Iikka Hesse jälkityötuottaja James Post Oy M 133 Petteri Linnus jälkityötuottaja James Post Oy M 134 Eetu Niininen online James Post Oy M 135 Kimmo Tiainen online James Post Oy M 136 Sami Haartemo VFX James Post Oy M 137 Eddie Wong (II) VFX James Post Oy M 138 Eetu Niininen VFX James Post Oy M 139 Pasi Mäkelä (II) värimäärittely James Post Oy M 140 Tommi Gröhn DCP-masterointi James Post Oy M 141 Katarina Nyman elokuvalevityksen johtaja Nordisk Film M 142 Petri Viljanen myyntipäällikkö Nordisk Film M 143 Minna Rämö myyntikoordinaattori Nordisk Film M 144 Nica Rossi vastaava markkinointipäällikkö Nordisk Film M 145 Kati Malmivaara markkinointipäällikkö Nordisk Film M 146 Piia Järvenpää-Haratani digitaalisen markkinoinnin päällikkö Nordisk Film M 147 Susanna Enäsuo tuotannonsuunnittelija Nordisk Film M 148 Mira Mörsky markkinointiassistentti Nordisk Film M 149 Maria Isomaa markkinointipäällikkö / tallenne Nordisk Film Tekijäyhtiöt M 1 Meguru Film Sound Oy äänen jälkityöstudio M 2 P. Mutasen Elokuvakonepaja Oy kamerakalusto M 3 Valofirma Cine Light Rental Oy valaisukalusto M 4 Grip Service Niska grip-kalusto M 5 Meguru Film Sound Oy kenttä-äänityskalusto Musiikki Menolippu One Way Ticket to the Blues säv. Hank Hunter, Jack Keller san. Virve Rosti sov. Pyry Pohjanpalo (p) 2017 Sony Music Finland Entertainment es. Mira Luoti Helvetin hieno matka säv. Aaltonen, Hynynen san. Hynynen sov. Aaltonen, Hynynen, Sinkkonen es. Kotiteollisuus Joutsenet säv. Jori Sjöroos san. Mira Luoti, Paula Vesala (P) 2003 Sony Music Finland Entertainemnt es. PMMP Boten Anna säv./ san. Jonas Altberg © Warner/ Chappell Music es. Basshunter The Final Countdown säv./san. Joey Tempest (P) Sony Music © EMI Music es. Europe Den glider in säv./san./ sov. Peter Karlsson © Scandinavian Songs (P) Sony Music es. Nick Borgen & Tre Kronor Pämppää säv./san. K. Salokorpi, V. Wallenius, P. Korjus M. Kuopppala, H. Kuula. J, Tuohimaa, I. Sahamies © EMP Elements Music Publishing (p) Universal Music es. Teflon Brothers Märkää säv. Millionaire Men san. Petri Nygård © Elements Music & Sony/ATV Music Scandinavia (p) Open Records es. Petri Nygård Ryyppy "Hevoshullu remix" säv./san. Pasi Siitonen säv. Mikko Tamminen © Eelements Music & Sony/ATV Music Scandinavia (p) The Fried Music es. Stig Lähtisitkö säv./san. Maija Paavonen © EMI Music Finland es. Santtu Karvonen Ajomies säv. trad. san. Reino Helismaa sov. Samuli Erkkilä, Joni Suhonen es. Taneli Mäkelä Tinakenkätyttö säv./san. Markku Impiö © EMI Music Finland Brokeback Mountain säv./san. Mikko Tamminen © EMP Elements Music Publishing (p) Palmupuistikko es. Setä Tamu Tyttö sinä olet meritähti säv./ san. P. Karppinen, P. Siitonen, M. Tamminen © Elements Music & Sony/ ATV Music Scandinavia (p) Yön Polte/ Elements Music Oy es. Yön polte Flipperi säv./san. S. Huhtala, M. Melleri, K. Salokorpi © EMP Elements Music Publishing (p) Rähinä Records es. Flipperi El condor pasa säv. trad. vihellys Jussi Chydenius Morgenstemning Peer Gynt - Suite nr. 1 Op. 46 säv. Edward Grieg Tonava kaunoinen An der schönen blauen Donau säv. Johann Strauss II M 1 Jussi Vatanen Janne M 2 Pamela Tola Inari M 3 Timo Lavikainen Räihänen M 4 Santtu Karvonen Kämäräinen M 5 Kari Ketonen Mikko M 6 Heidi Lindén Hanna M 7 Jarkko Niemi Ilkka M 8 Taneli Mäkelä Timo M 9 Paavo Kinnunen (II) Kai M 10 Kaisa Hela Saana M 11 Janne Kinnunen Teemu M 12 Jani Volanen Kittilän runkkareiden pomo M 13 Tommi Eronen Kittilän runkkari M 14 Petja Lähde Kittilän runkkari M 15 Kari Väänänen Räihäsen isä M 16 Erkki Hetta Jannen isä M 17 Sinikka Mokkila Jannen äiti M 18 Nani Alanen Kolarin Kiinteistöhuollon joukkueen jäsen M 19 Sari Ekorre-Nummikari Kolarin Kiinteistöhuollon joukkueen jäsen M 20 Katriina Hänninen Kolarin Kiinteistöhuollon joukkueen jäsen M 21 Ari Kelin Kolarin Kiinteistöhuollon joukkueen jäsen M 22 Jesse Maksimainen Kolarin Kiinteistöhuollon joukkueen jäsen M 23 Sami Sainio Kolarin Kiinteistöhuollon joukkueen jäsen M 24 Pinja Pakisjärvi Lumi M 25 Veikko Kyllönen Ilja M 26 Maarit Poussa Maarit M 27 Anna-Leena Härkönen telttaileva resepsunisti M 28 Jorma Kaulanen pappi hautajaisissa M 29 Tapani Kauppinen Kapun isä M 30 Kyösti Pietikäinen venekuski M 31 Seija Helomaa pappi vaellusriparilla M 32 Kalle Palander selostaja M 33 Petri Antila suopotkupallotuomari M 34 Mauno Hiltunen suopotkupallotuomari M 35 Matias Rusanen suopotkupallotuomari M 36 Laxmi Bhandari Penelope M 37 Valtteri Pikkarainen Räihäsen isän poika M 38 Viljami Pikkarainen Räihäsen isän poika M 39 Oona Rusanen tankotanssija M 40 Juha Niska palomies M 41 Tiina Lymi ultrajuoksija M 42 Pekko Pesonen ultrajuoksija M 43 Pekka Tuononen helikopterilentäjä Avustajat Aarno Kallo, Aate Happo, Aatu Moilanen, Aila Karppinen, Ainu Niva, Airi Hurskainen, Airi Korpela, Airi Vaarala, Aleksanteri Huotari, Aleksantra Korhonen, Aleksi Fomin, Aleksi Kursu, Aleksis Koli, Alexandra Emilia Pentinpuro, Aliina Seppänen, Aliisa Toivanen, Alina Karvonen, Anita Jauhojärvi, Anitta Pakanen, Anja Rasmussen, Anjahelena Korhonen, Anna Hämeenaho, Anna-Mari Tegelberg, Anna-Maria Ylinampa, Annamari Luukkonen, Anne Autiolahti, Anne Jylhä, Anne Putus, Anne Wennström, Anni Hakkarainen, Anni Heikkinen, Anni Keränen, Anni Turunen, Anninna Horto, Antti Haapasalo, Antti Kolkka, Antti Pehkonen, Anu Havela, Anu Huusko, Anu Niskanen, Arhi Juvonen, Ari Kemppainen, Ari Korhonen, Ari Tuikka, Ari Vuorela, Ari Väisänen, Arina Toivonen, Arto Malmberg, Arttu Tikkanen, Artur Särkinen, Artur Särkinen, Asko Jaako, Biritta Fröblom, Denice Kanervo, Eemil Härkönen, Eetu Heikkinen, Eetu Hirvonen, Eetu Härkönen, Eetu Martikainen, Eeva Romppainen, Eijariina Vartiainen, Eini Tarkiainen, Elias Koli, Elias Kyllönen, Elias Reponen, Elina Huttunen, Elina Sinisaari, Elisa Pulkkinen, Ella Huusko, Ella Reetta Erkkilä, Elli-Noora Piirainen, Emilia Hämäläinen, Emilia Palokangas, Emma Niskanen, Emma Palokangas, Emmi Helmi Erkkilä, Emmi Leipävuori, Enni Kananen, Eppu Lehtola, Erja Anttila, Erja Retzén, Essi Laine, Essi Mangström, Essi Pulkkinen, Eveliina Pennanen, Hanna Lukkarila, Hanna Näpänkangas, Hanna Pohjoisaho, Hanna Seppänen, Hanna-Leena Kyllönen, Hannaleena Kemppainen, Hannu Huttunen, Hannu Koivusalo, Hannu Puhalainen, Harri Saajos, Heidi Marttila, Helen Ronkainen, Helena Storhammar, Heli Elfving, Heli Haataja, Heli Hyvärinen, Henje Rahko, Henna Hakala, Henna Mikkola, Henri Ahola, Henri Korhonen, Henri Kyllönen, Ilari Koskimies, Ilkka Härkönen, Inga Ärnfors, Jaakko Pellinen, Jaana Hokkanen, Jaana Jaako, Jaana Kallio, Jaana Ovaskainen, Jami Ivanoff, Jani Ruokamo, Janne Böös, Janne Hyvönen, Janne Kankainen, Janne Malinen, Jari Ikkelä, Jari Posa, Jarkko Hanhela, Jarkko Mattila, Jarkko Viitanen, Jarmo Anttonen, Jarno Ruokamo, Jasmiina Lehtinen, Jenni Suorsa, Jere Kananen, Jere Nieminen, Jesse Ivanoff, Jesse Karjalainen, Jesse Kilpeläinen, Jesse Kuutti, Jesse Määttä, Jessica Komulainen, Joakim Dahl, Joel Pelttari, Johanna Partanen, Johanna Tervakangas, Johanna Tuure, Johannes Silvennoinen, Joni Antikainen, Joni Hämeenniemi, Joni Korhonen, Joni Oksanen, Jonna Alariesto, Jonna Juntunen, Jonna Moilanen, Jonna Vähäkangas, Joonas Oikarinen, Joonas Tolonen, Jorma Kaulanen, Jouko Malinen, Jouni Halonen, Jouni Jylhä, Jouni Mutanen, Juha Niska, Juhani Alatörmänen, Juho-Erkki Kilponen, Juho-Pekka Leinonen, Jukka Koivuniemi, Julia Koivuniemi, Julia Leinonen, Jussi Haataja, Jussi Malkki, Jussi Rytkönen, Kaisa Kaukoranta, Kaisa Laakko-Takkinen, Kaisa Uusitalo, Kari Heikkinen, Kari Kivistö, Kari Pöyskö, Kari-Pekka Moilanen, Karla Koponen, Karoliina Partanen, Karri Hentil, Katariina Katisko, Kati Kinnunen, Kati Korhonen, Kati Soini, Kati Säkkinen, Katja Jylhä, Katja Lahtonen-Pääkkönen, Katja Pirttikoski, Katja Saloranta, Katri Niskanen, Kiia Hooli, Kimmo Paaluharju, Kokhaber Samsonia, Konsta Määttä, Krista Jylänki, Krista Lindström, Krista Piirainen, Krista Tampio, Kyösti Kortelainen, Lasse Tertsunen, Lassi Huusko, Laura Huotari, Laura Jaara, Laura Karppinen, Laura Kuulasmaa, Lauri Rantakokko, Lea Alatalo, Leena Lappalainen, Liisa Leinonen, Liisa Pekkala, Linda Suolahti, Lyydia Nyman, Maarit Taarluoto, Magnus Pettersson, Maija Rasmussen, Maiju Kemppainen, Maire Mäkitalo, Marcus Raappana, Mari Juntunen, Mari Kemppainen, Maria Inkilä, Maria Kuosmanen, Maria Oravala, Maria Siekas, Mariaana Ala-Hiiro, Marianne Heikkinen, Marianne Kanerva, Marika Hyyryläinen, Marika Maciejczyk, Marika Salminen, Marissa Inkilä, Marita Kokkonen, Marjo Immonen, Marjo Jalajärvi, Marjo Moilanen, Marjo Nousiainen, Marjut Peltokangas, Mark Copher, Markku Haverinen, Markku Laanti, Markus Löytynoja, Markus Mitronen, Matias Terve, Matti Kilpeläinen, Matti Kämäräinen, Matti Oikarinen, Matti Puha, Meeri Korhonen, Meiju Karppinen, Merja Suhonen, Mia-Emilia Tikkanen, Miia Kiiveri, Miia Korpelin, Miia Kvist, Miia Nikitin, Miia Vuoti, Miia Ylikojola, Miikka Kelahaara, Miikka Tolonen, Mika Huusko, Mika Kingelin, Mika Korpelin, Mika Pakisjärvi, Mika Väisänen, Mikko Korhonen, Mikko Piirainen, Mikko Ahokas, Milla Heinistö, Milla Nevalainen Minna Huovinen, Minna Immonen, Minna Juntunen, Minna Kokkoniemi, Minna Malinen, Minna Vilmi, Minttu Immonen, Minttu Järvelin, Mira Heinonen, Mira Manninen, Miro Nieminen, Moona Hult, Nea Tuikka, Nelli Huotari, Nelli Pikkarainen, Niina Hakala, Niina Halonen, Niina Hedman, Niina Lahtonen, Niina Pulkkinen, Niina Räisänen, Niko Kaleton, Niko Tuikka, Niko Ylisuvanto, Noora Karppinen, Noora Koistinen, Noora Nummikari, Noora Romppainen, Nora Reku, Olli Engelberg, Olli-Pekka Karjalainen, Olli-Veikko Leinonen, Oskari Kaartinen, Oskari Viitakangas, Ossi Alatalo, Oula Karinen, Outi Ahola, Paavo Jokinen, Pasi Kemppainen, Paula Jaakola, Paula Juntunen, Pauliina Pihlajaniemi, Pekka Leinonen, Pekka Nousiainen Pekka Parviainen, Pekka Posio, Pekka Sarlund, Pertti Mikkonen, Peter Kilponen, Petra Korhonen, Petri Niskanen, Petri Valtanen, Pia Ahonen, Piia Sirviö, Piia Turunen, Piia Vuoti, Pilvi Heikkinen, Pinja Vuorentausta, Pirjo Itkonen, Pirjo Juuti, Pirjo Keiskander, Pirjo Kontio, Pirkko Jauhojärvi, Pirkko Schroderus, Raili Pirttimaa, Raimo Jauhojärvi, Rauno Sirviö, Reetta Haataja, Reetta Kauppi, Renne Rusanen, Riija Kemppainen, Riikka Huotari, Riikka Kuismin, Riikka Tikkanen, Riku Moilanen, Risto Kahelin, Ritva Kemppainen, Ritva Oikarinen, Ritva Veneskoski, Robert Katzenberger, Roni Kilpeläinen, Roni Liljeroos, Roope Horto, Roosa Korhonen, Rosa Sjöblom, Rosa-Marie Oikarinen, Ruey Komulainen, Saana Tuononen, Saara Kokko, Saila Berg, Saku Partanen, Salla Heikkinen, Salla Kuutti, Salla Tiihonen, Salla-Mari Romppainen, Sami Heikkilä, Sami Leinonen, Sami Rautiainen, Sami Tuikka, Sami Tuomainen, Sami Venäläinen, Sampo Karppinen, Samuel Huotari, Samuli Junttila, Sanna Alariesto, Sanna Kortesalmi, Sanna Luotio, Sanna Nyman, Sanna Palosaari, Sanna Pirttimaa, Sanna Sipiläinen, Sanna Taskila, Sanna-Mari Oikarinen, Sanni Huotari, Sanni Määttä, Sara Kemppainen, Sara Yrjölä, Sari Heikka, Sari Kuivalainen, Sari Sirviö, Sari Tauriainen, Sari-Anne Hämäläinen, Satu Jalokoski, Satu Laitinen, Seela Mannersuo, Senni Laine, Seppo Romppainen, Seppo Räsänen, Siiri Niskala, Silja Pitkämäki, Sini Huotari, Sinikka Labba, Sinikka Tikkanen, Sirpa Flinkman, Sirpa Heikkinen, Sofia Palosaari, Sofia Räsänen, Sonja Sirviö, Susanna Heikkinen, Susanna Kalasniemi, Susanna Nikula, Suvi Jalokoski, Taavetti Vatanen, Taavi Uotila, Taika Karinen, Tanja Kinnunen, Tapio Vatanen, Tarja Mankinen, Tarja Palojoensuu, Tatu Pääkkönen, Teemu Kemppainen, Teemu Kuosmanen, Teemu Lahdelma, Teemu Sirviö, Teija Leinonen, Teija Sakko, Teija Torkkola, Teppo Nousiainen, Teresa Tuikka, Terhi Keränen, Tero Viiru, Tia-Maria Tikkanen, Tiia Kollin, Tiia Korhonen, Tiia Kuisma, Tiina Alatalo, Tiina Heikkinen, Tiina Kiiveri-Härkönen, Tiina Niittynen, Timo Ahola, Timo Juntunen, Timo Korhonen, Tomi Kangasjärvi, Tomi Pietilä, Tommi Knuutinen, Tommi Partanen, Toni Jaakola, Toni Kyllönen, Topi-Antti Toivonen, Tuija Postari-Kivistö, Tuomas Kaleton, Tuomas Mäläskä, Tuomas Määttä, Tuomas Poranen, Tuomas Tallqvist, Tuomas Vuorenmaa, Tuomo Rönty, Tuukka Keränen, Tuula Lahti, Tytti Kaikkonen, Ulla Järvelin, Ulla Kokkonen, Ulla-Maria Kankainen, Ulrika Sievänen, Unna Möykkynen, Urpo Pelttari, Valtteri Heikkinen, Valtteri Kankainen, Valtteri Kämäräinen, Veera Valtanen, Veeti Hannus, Veikka Laakkonen, Venla Kankainen, Vesa Krupula, Vieno Määränen, Vili Huotari, Vilja Aaltonen, Ville Ahonen, Ville Kyllönen, Ville Louhimaa, Ville Nikkanen, Ville Puoskari, Ville Törmänen, Vilma Kalasniemi, Vilma Määttä, Vilma Tihinen, Virpi Heikkilä, Virpi Piippo, Virve Holappa, Vladimir Tishcenko, Volodymyr Nitsetskyy. Tiina Lymin ohjaama ja Pekko Pesosen käsikirjoittama komedia Napapiirin sankarit 3 (2017) kertoo samoista lappilaisista henkilöistä kuin elokuvasarjan kaksi ensimmäistä osaa. Janne (Jussi Vatanen) on väsynyt kaksilapsisen perheen arkeen ja oman elämänsä pysähtyneisyyteen, ja etsii merkitystä elämänviisauksia jakelevasta kirjallisuudesta. Inarilla (Pamela Tola) on palava halu päästä taas työelämään. Löytääkseen itsensä Janne lähtee patikoimaan kohti Pallastunturia. Mukaan yhyttäytyvät kuitenkin myös hänen kaverinsa Kämäräinen (Santtu Karvonen) ja Räihänen (Timo Lavikainen), ja erämaan hiljaisuudessa meditointi jää pelkäksi haaveeksi. Inari puolestaan lähtee paikallisen työyhteisön mukana Vuokattiin suopotkupallokisoihin tavoitteenaan hankkia itselleen työpaikka. Yllätyksenä samaan joukkueeseen tunkeutuu mukaan Inarin vanha ihailija Pikku-Mikko (Kari Ketonen), ja kaaos on valmis. Kuvaukset kesällä 2016. KAVA:n huomautukset Muusikko Tuomas Wäinölän etunimi elokuvan lopputeksteissä virheellisessä muodossa Tommi. / MH Kiitokset Annukka Ruuskanen, Antti Vehman, Arja Kastarinen, Essi Siljoranta, Hannu Tuomainen, Heidi Jokisalo, Heikki Rotko, Heini Kanerva, Ia Luhtanen, Iida ja Ella Lymi, Ilja Rautsi, Jami Teirikari, Janne Haarma, Johanna Koivumaa, Joonas Nordman, Juha Tanskanen, Jussi Kauhanen, Justus ja Leo Hentula, Katri Puranen, Katriina Salmivuori, Laura Kuulasmaa, Marja Packalën, Markku Laanti, Marko Talli, Mikko Aromaa, Mikko Neuvonen, Milla Bruneau, Niklas Herlin, Outi Forsten, Patrik Pellikka, Peter Barkman, Petja Peltomaa, Pilvi Kuitu, Päivi Lapiolahti, Rasmus Krogh, Reino Seppänen, Sabina Finnilä. Vujema Oy / Jouni Bergman Butterick"s Cafe & Bar Routa Dr. Hauschka First Out Oy / Jonas Takolander Haltian Luontokeskus Hiihtokeskus Iso-Ylläs / Osmo ja Ville Virranniemi KC Professional Four Reasons Lapin Elokuvakomissio Lapin luontopalvelut / Tapani Rauhala Lapin pelastuslaitos / Pekka Väliheikki Lapland Hotels / Ari Vuorentausta Matkailuyhdistys Ukkohalla ry / Kimmo Kyhälä Pallas-Yllästunturin kansallispuisto Ravintola Toweri / Eeva Kaulanen Valofirma / Ville Väänänen Veikkaus / Timo Lämsä Ylläs Guide / Ilkka Mäki

Tiedote lehdistölle 11.11.2016 Suomen juhlavuonna 2017 nähdään valkokankailla koko maan odottama selviytymistarina Kansallisen merkkiteoksen ensimmäinen traileri julkaistaan nyt Suomi valmistautuu juhlimaan 100-vuotista itsenäisyyttään tulevana vuonna. Juhlavuoden kunniaksi nähdään valkokankailla jo kolmannen kerran kansallinen selviytymistarina, jota koko Suomi odottaa malttamattomana. Pienen maan traagisia ihmiskohtaloita ja Pohjolan poikien sisukasta luonnetta elämän suurissa kamppailuissa on tuskin koskaan kuvattu yhtä realistisesti – koko kansan sydämiä sykähdyttävää sinivalkoista huumoria unohtamatta. Vajaan vuoden kuluttua ensi-iltansa saavan merkkiteoksen ensimmäistä traileria on esitetty valikoiduissa näytöksissä elokuvateattereissa kaikessa hiljaisuudessa viikon ajan. Nyt traileri julkaistaan viimein myös median käyttöön.

Tiedote lehdistölle 23.2.2017 Ensi-ilta elokuvateattereissa kautta maan keskiviikkona 23.8.2017 Napapiirin sankarit 3 -elokuvasta julki ensimmäistä kuvamateriaalia: toinen teaser-traileri ja ensimmäiset valokuvat Napapiirin sankarit 3 -elokuva saa odotetun ensi-iltansa päivälleen puolen vuoden kuluttua, keskiviikkona 23.8.2017. Elokuvasta on aiemmin julkaistu yksi teasertraileri. Nyt julkaistaan toinen teaser-traileri sekä ensimmäiset lehdistökuvat elokuvan pääroolihahmoista. Elokuva on jatko-osa Napapiirin sankarit- ja Napapiirin sankarit 2 -kassamagneeteille. Kolmannen osan on ohjannut Tiina Lymi ja aiempien osien tapaan käsikirjoittanut Pekko Pesonen. Pääparia Jannea ja Inaria näyttelevät tutut Napis-tähdet Jussi Vatanen ja Pamela Tola. Jannen ystävinä Räihäsenä ja Kämäräisenä nähdään kansan suosikit Timo Lavikainen ja Santtu Karvonen. Legendaarinen Pikku-Mikko on myös mukana, kotimaisen komedian kuninkaan Kari Ketosen tulkitsemana. Luvassa on jälleen roppakaupalla uusia hahmoja, joita esittävät Taneli Mäkelä, Kaisa Hela, Jani Volanen, Tommi Eronen, Paavo Kinnunen, Jarkko Niemi ja Heidi Lindén. Aiemmin Napapiirin sankarit ovat metsästäneet niin digiboxia kuin pikkulastakin. Tällä kertaa Janne etsii itseään. Mukaan vaellusretkelle Lappiin tunkee muutama muukin sankari, eikä katastrofi ole taaskaan kaukana. Samaan aikaan toisaalla Inari pyrkii etenemään urallaan työporukkansa suopotkupallokisoissa. Paikalla palloilee myös uusi yhteistyökumppani Pikku-Mikko, ja Inarin suunnitelmat uppoavat suohon. Lehdistötilaisuudet järjestetään elokuun aikana. Mikäli edustamasi median julkaisuaikataulut edellyttävät jutun tekemistä ennen ensi-iltakuukautta, voit esittää haastattelupyyntösi jo nyt.

Tiedote lehdistölle 23.3.2017 Ensimmäisessä Napapiirin sankarit 3 -julisteessa nähdään elokuvan päähenkilöt Janne (Jussi Vatanen) ja Inari (Pamela Tola), jotka ovat jälleen suuntaamassa eri teille. Janne lähtee vaeltamaan Pallas-tunturille etsimään itseään ja pohtimaan elämän suuria kysymyksiä. Muutaman muun mukaan tunkeneen sankarin myötä matkasta muotoutuu katastrofaalinen kaaos. Samaan aikaan Inari pyrkii luomaan uraa suopotkupallokisoissa Vuokatissa. Paikalla palloilee myös tulevan työnantajan uusi yhteistyökumppani Pikku-Mikko (Kari Ketonen), ja Inarin suunnitelmat uppoavat syvälle suohon. Napis-maailma levittäytyy siis ensimmäistä kertaa Lapin ulkopuolelle, Vuokattiin, jossa tullaan viettämään myös elokuvan maailmanensi-iltaa elokuussa 2017. Elokuva on jatko-osa Napapiirin sankarit- ja Napapiirin sankarit 2 -kassamagneeteille. Vatasen, Tolan ja Ketosen lisäksi elokuva tuo valkokankaille niin tuttuja kuin tuoreitakin Napis-hahmoja. Jannen ystäviä Räihästä ja Kämäräistä esittävät kansan suosikit Timo Lavikainen ja Santtu Karvonen. Uusissa Napis-rooleissa nähdään Taneli Mäkelä, Kaisa Hela, Jani Volanen, Tommi Eronen, Paavo Kinnunen, Jarkko Niemi ja Heidi Lindén. – Jannen rooli on minulle erittäin merkityksellinen, niin roolihahmona kuin oman urani mittakaavassa, kertoo suosikkinäyttelijä Vatanen. – Napiksen kolmas osa tuo jälleen lisää syvyyttä Jannen hahmoon, vaikka keski-ikäisen perheenisän kasvaminen onkin kaikessa vaativuudessaan samalla myös huvittavaa. Vatasen merkitys on Napapiirin sankarit 3 -tuotannossa vielä pääosaakin suurempi. Näyttelemisen lisäksi Vatasella on toinen, kokonaan uusi rooli tuotantotyöryhmässä kameran takana. – Olen ensimmäistä kertaa mukana elokuvatuotannossa myös executive-tuottajana. Tuotantotyöryhmässä työskenteleminen on tuonut minulle uusia näköaloja niin elokuva-alaan kuin Napiksenkin maailmaan, Vatanen mainitsee. – Tuotantotyön ansiosta tuntuu jälleen siltä, kuin olisin kasvanut ammattilaisena Napisten myötä siinä missä roolihahmoni Jannekin – tosin onneksi ilman Jannelle ominaista huonotuurista kantapään kautta töppäilyä. Napapiirin sankarit 3:n on ohjannut Tiina Lymi ja aiempien osien tapaan käsikirjoittanut Pekko Pesonen.

Tiedote lehdistölle 28.6.2017 Juliste julki: NAPAPIIRIN SANKARIT 3 -elokuva nauraa vakaville asioille lämmöllä ja sydämellä Napapiirin sankarit 3 saa ensi-iltansa keskiviikkona 23.8.2017 kautta maan. Elokuvan on ohjannut Tiina Lymi ja aiempien osien tapaan käsikirjoittanut Pekko Pesonen. Napapiirin sankarit- ja Napapiirin sankarit 2 -kassamagneettien jatko-osassa on jälleen luvassa muutama uusi muuttuja. – Matka Napapiirin sankarien mukana suolla ja tunturissa oli voimallinen kokemus. Tämä ohjaustyö kaikkine muuttujineen oli todellinen vaellus, jonka varrella mitattiin näkemystä ja kestävyyttä, kuvaa ohjaaja Lymi elokuvan tekemistä. – Lopputulokseen kiteytyi se minulle tässä elokuvassa tärkein: lämpö ja sydän. Ihmiset kantavat toisiaan ja se kaikista tärkein ja arvokkain on usein koko ajan ollut siinä ihan vieressä. Elokuvassa nähdään tutut päähenkilöt Janne (Jussi Vatanen) ja Inari (Pamela Tola), jotka ovat jälleen suuntaamassa eri teille. Janne lähtee vaeltamaan Pallas-tunturille etsimään itseään ja pohtimaan elämän suuria kysymyksiä. Muutaman muun mukaan tunkeneen sankarin myötä matkasta muotoutuu katastrofaalinen kaaos. Samaan aikaan Inari pyrkii luomaan uraa suopotkupallokisoissa Vuokatissa, jossa suohon uppoavat paitsi jalat, myös tulevaisuuden suunnitelmat. – Suomalaisten luontosuhteessa on edelleen jotain pyhää. Harva se päivä saa lukea jostain, miten metsässä liikkuminen auttaa masennukseen ja ties mihin. Pidän itsekin luonnossa liikkumisesta, mutta vielä enemmän pidän vakaville asioille nauramisesta, kertoo käsikirjoittaja Pesonen elokuvan lähtöajatuksista. – Napisten kirjoittamisessa nautin eniten silkan hulluttelun yhdistämisestä piiloviisaisiin tarinoihin, jotka antavat armon inhimilliselle heikkoudelle ja sitä kautta ehkä katarsoivat katsojaansa. Tällaisia urpoja me välillä olemme. Eikä se ole niin vakavaa. Vatasen ja Tolan lisäksi elokuva tuo valkokankaille niin tuttuja kuin tuoreitakin Napis-hahmoja. Inarin ex-heilaa Pikku-Mikkoa näyttelee Kari Ketonen ja Jannen ystäviä Räihästä ja Kämäräistä esittävät kansan suosikit Timo Lavikainen ja Santtu Karvonen. Uusissa Napis-rooleissa nähdään Taneli Mäkelä, Kaisa Hela, Jani Volanen, Tommi Eronen, Paavo Kinnunen, Jarkko Niemi ja Heidi Lindén.

Varastettu kuolema director's cut / Stolen Death (2017 KAVI restoration in 4K)

Varastettu kuolema. Ralph Enckell and Tuulikki Paananen.

Varastettu kuolema. Elokuva-aitta 17/1939. On display the Lewis gun (Mark I). Den stulna döden. FI 1938. PC: Erik Blomberg Oy. P: Erik Blomberg. D: Nyrki Tapiovaara. SC: Eino Mäkinen, Erik Blomberg – dialogue: Matti Kurjensaari – based on the short story "Köttkvarn" (1919) by Runar Schildt. Cin+photography: Olavi Gunnari, Erik Blomberg. Camera assistent: Reino Lammila. AD: Kille Oksanen, Ilmari Tapiovaara – assistent: Hans Brücker – lavastemies: Paavo Kuoppala. Makeup: Rakel Linnanheimo. Hair: Senja Soitso. M: George de Godzinsky. ED: Erik Blomberg, Nyrki Tapiovaara. S: Lauri Pulkkila. Järjestäjä: B. Joni. C: Tuulikki Paananen (Manja), Ralph Enckell (as Ilmari Mänty) (Robert Hedman), Santeri Karilo (Jonni Claesson, the arms dealer), Annie Mörk (Matami Johansson), Bertha Lindberg (Robert"s mother), Hertta Leistén (aunt), Ahti H. Einola (as Gabriel Tossu) (shoemaker), Jalmari Parikka (prison guard), Aku Peltonen (the doorman at Kappeli), Aatos Konst, Viljo Kervinen, Paavo Kuoppala ja Yrjö Salminen (Robert"s comrades), Kusti Laitinen (gendarme officer), Emil Kokkonen (soldier), Lida Salin (the lady about to move), Lars Eric Carpelan, Matti Kurjensaari, Arne Runeberg, Ilmari Tapiovaara (pallbearers), Nyrki Tapiovaara (train conductor), Erik Blomberg (shop assistant), Maija Nuutinen (woman), Ilmari Paukku. Helsinki premiere: 4.3.1938 Rex, released by Adams Filmi – telecast: 14.3.1964 MTV1, 18.2.1971 MTV2, 13.5.1987, 30.10.1987 YLE TV1, 13.9.1990, 15.9.1995 YLE TV2 – VET A–989 – K16 – 2750 m / 100 min – re-release print (1954) 90 min Director"s cut reconstructed and restored at KAVI (2017) in 4K at 102 min. Introduced by Erkka Blomberg, son of Erik Blomberg. Viewed at Cinema Orion, Helsinki (Finland 100, Masters of Finnish Cinematography), 15 Aug 2017 Stolen Death, the title of the film, refers to the coffin used by the "pallbearers" to smuggle a machine gun. The title "Köttkvarn" ["The Mincer"] of the short story on which the film is based refers to the machine gun. On display in the film is a Lewis gun, make: Mark I, a light machine gun designed in the US and perfected in Birmingham, GB, during WWI, so there is an anachronism for a story about Finnish freedom activists anno 1904. Ralph Enckell (1913–2001) became a top diplomat. He was Finland"s UN Ambassador in 1959–1965 during the most dangerous years of the Cold War. His successor was Max Jakobson. Tuulikki Paananen (1915–1974) had true star charisma. Her mother was an American from Michigan. Paananen was a citizen of the U.S. and graduated from Hollywood High School. A trained dancer, she appeared uncredited in Hollywood dance scenes. She re-learned Finnish for a high profile film career in Finland in the 1930s. In 1939 her visa was not renewed, and she had to return to the U.S., but during WWII she focused on work to help Finland. Her attempt at a Hollywood career resulted mainly in the eighth-billed role of Consuelo Contreras in Jacques Tourneur"s The Leopard Man (see image below). She established dance studios in California and Hawaii where she died of breast cancer. Her ashes were spread on Waikiki Beach. Nyrki Tapiovaara (1911–1940) was Finland"s leading avantgardistic film director. He died in the frontline in the Winter War. Erik Blomberg (1913–1996) was one of the most prominent independent film producers in Finland, also a director and master cinematographer. Stolen Death is the most important work of the Finnish film avantgarde before WWII. Finnish freedom activists are mobilizing on the eve of the 1905 Russian Revolution. They have a secret printing press and they are even acquiring weapons for the imminent struggle. Gendarmes, Cossacks, spies, traitors, and double agents are everywhere. This independent movie was produced on a small budget (250.000 Euro in current money) largely in pro bono spirit. It looks different but it does not look cheap. What was lacking in resources was compensated in panache. The avantgardistic impulse is on display in the striking cinematography and montage sequences the likes of which had been seen only in certain films by Valentin Vaala, Teuvo Tulio, and Aho & Soldan (and perhaps Kalle Kaarna). The film does not stray impossibly far from mainstream expectations. There is suspense, there are thrilling chase sequences, and there is a stirring romantic angle thanks to the genuine star charisma of Tuulikki Paananen. Ralph Enckell is an amateur but one can get used to his stiff presence. In his own way he is reliable hero material. Annie Mörk is colourful as the shady Madame Johansson. The versatile Santeri Karilo is effective as the dubious arms smuggler and blackmailer. Since 1954 we have been seeing only a truncated 90 minute cut of this 102 minute film. This year we have reconstructed and restored the complete version in collaboration with Erkka Blomberg, the son of the producer. For decades we have been watching Stolen Death benevolently, ignoring the choppy going of the truncated version. The reinstated passages reveal nothing new in terms of story and theme. But the film is much fuller and richer thanks to this footage. It enriches characters, mood, milieu, and atmosphere. Stolen Death is a much more gratifying experience thanks to the reconstruction. A wonderful rediscovery of a powerfully visual movie. An important restoration perhaps with room for some extra polishing.

Varastettu kuolema. Nyrki Tapiovaara directs Tuulikki Paananen.

The Leopard Man produced by Val Lewton and directed by Jacques Tourneur. Tuulikki Paananen (as Tula Parma) in the role of Consuelo Contreras, the second victim, the one with a date at the graveyard. BEYOND THE JUMP BREAK: OUR PROGRAM NOTE BY SAKARI TOIVIAINEN: BEYOND THE JUMP BREAK: OUR PROGRAM NOTE BY SAKARI TOIVIAINEN: Varastettu kuolema on sekä jännityselokuva että tyylikokeilu, mutta molempia vain pintatasossa. Rikkaan ja vaikuttavan kokonaisuuden kokeilevat piirteet johtuvat ilmeisesti siitä, että toista elokuvaansa tekevä Tapiovaara tunsi haluavansa ja kykenevänsä käyttämään mahdollisimman laajaa ilmaisuasteikkoa. Ennen Varastettua kuolemaa hän oli tehnyt opintomatkan mm. Pariisiin, elokuvan sydämeen, ja saanut runsaasti vaikutteita ajan tähtiohjaajien, René Clairin ja kumppaneiden töistä. Niinpä Varastettua kuolemaa kattaa kauttaaltaan tietoisuus elokuvan suurista mahdollisuuksista ilmaista, ei yksin juonen sovinnaisia kiemuroita, vaan yhtä lailla tunteita ja ajatuksia. Varsinainen tarina (joka perustuu Runar Schildtin novelliin "Lihamylly") on tässä elokuvassa tosiaan vain veruke, joka toimii kehyksenä varsin konkreettisille ideoille rakkaudesta ja vapaudesta. Tapahtumat sijoittuvat Venäjän tsaarinvaltaa vastaan toimivien aktivistien pariin, jonnekin vuosisadan alkuun. Tapahtumakulku on melko yksinkertainen: aktivistit hankkivat aseiden ostoa erään välittäjän kautta; poliisien takaa-ajamina he yrittävät saada aselastin turvaan; urkkijaksi lähetetty nainen ja aktivistijohtaja rakastuvat toisiinsa, edellinen pelastaa jälkimmäisen vanki-lasta. Varastettu kuolema on ennen kaikkea kuvaus vapaustaistelusta hyvin yleisessä ja samalla täsmällisessä mielessä; ympäristössä, joka on täynnä sortovallan lonkeroita, ahdistusta, epävarmuutta, taantumuksen ulkoisia tuntomerkkejä ja menneiden aikojen yli eläneitä jäänteitä niin materialistisessa, kuvista välittömästi aistittavassa merkityksessä, että 1970-luvun katsoja ajattelee enemmän 1930-lukua ja maanalaista kommunistista toimintaa kuin tsaarinajan aktivisteja. Tässä sivutaan läheltä yhtä Tapiovaaran elokuvauran keskeistä ongelmaa: koska hän ei voinut tehdä suoranaisesti poliittisia elokuvia, hän joutui käyttämään epäsuoraa, viitteellistä ilmaisua, joka nyt nähtynä vaikuttaa tehokkaammalta kuin ilmeinen poliittinen kärki. Varastetussa kuolemassa Tapiovaara onnistui tekemään aidosti historiallisen elokuva, jossa ovat koettavissa aikakauden sisimmät tunnut ilman että niitä ilmiselvästi tähdennetään. Varastettua kuolemaa on saatettu moittia epätasaiseksi, epäyhtenäiseksi ja amatöörimäiseltä haiskahtavaksi elokuvaksi. Sitä se on korkeintaan samassa mielessä kuin niissä elokuvissa (esim. Godardin Viimeiseen hengenvetoon), joissa uusi ilmaisu ja maailmankuva purskahtavat esiin juuri perinteellisen ilmaisun murtavista säröistä. Loppua, jossa päähenkilöt pakenevat takaa-ajajiaan maaseudun merelle, on sanottu pateettiseksi ja sentimentaaliseksi, ja sitä se on hyvin vakuuttavasti ja kauniisti. Se vaikuttaa kuin vapauden ja kaikkien paremman elämän lupausten äkilliseltä toteutumiselta siihenastisen hämärän ja salaisen, todelliset tunteet, ajatukset ja roolit peittävän toiminnan jälkeen. Vielä muuan yksityiskohta: Varastetussa kuolemassa puhutaan paitsi suomea, myös ruotsia ja venäjää aivan kuin luonnollisena asiana, vailla mitään anteeksipyyntöjä katsojan mahdollisesta ymmärtämättömyydestä. Tämä kielten moninaisuus on piirre, josta tietyssä määrin tunnistaa ohjaajan pyrkimyksen autenttisuuteen. Monet elokuvan kielen teoreetikot kuten Martin tai Bazin ovat kiinnittäneet huomiota asiaan. Usein esiin vedettyjä, aikoinaan harvinaisia esimerkkejä tällaisista aidosti kansainvälisistä, mutta kansallisia tunnusmerkkejä kunnioittavista elokuvista ovat 1930-luvulta Pabstin Kameradschaft ja Renoirin Suuri illuusio. – Sakari Toiviainen

SUOMEN KANSALLISFILMOGRAFIA: Nyrki Tapiovaaran ohjaama jännityselokuva Varastettu kuolema (1938) pohjautuu kirjailija Runar Schildtin novelliin. Vuoden 1904 Helsinkiin sijoittuvassa filmatisoinnissa nuoret aktivistit hankkivat aseita edistääkseen Suomen irtautumista Venäjästä. He saavat korvaamattoman apurin hämäräperäisen liikemiehen Jonni Claessonin (Santeri Karilo) ystävättärestä Manjasta (Tuulikki Paananen), jonka rohkeus ihastuttaa aktivistiryhmän johtohahmoa Robert Hedmania (Ilmari Mänty). Helsinki Venäjän - Japanin sodan aikaan 1904. Nuoret suomalaiset aktivistit valmistelevat salaisessa kirjapainossaan "Julistusta Suomen kansalle". Jotkut heistä ovat sitä mieltä, että sanat eivät enää riitä, ja alkavat harkita aseiden hankkimista. Aktivistiryhmän johtohahmo Robert Hedman joutuu piilopaikasta poistuessaan ruumiintarkastukseen ja yrittää kätkeä muistikirjansa, jonka poimii haltuunsa tilanteen nähnyt Manja, hämäräperäisen liikemiehen Jonni Claessonin ystävätär. Claesson toimii myös asekauppiaana, hankkijanaan vanhaintavarainkauppias matami Johansson, johon Robert niin ikään turvautuu tarvitessaan väärennetyn passin. Claesson painostaa Manjaa ottamaan yhteyden aktivisteihin. Robertin muistikirjan katoamisesta säikähtäneet aktivistit ovat juuri siirtämässä kirjapainoaan turvallisempaan paikkaan, kun Manja muistikirjan opastamana ilmestyy paikalle ja tarjoaa apuaan aseiden hankinnassa. Manja vie Robertin Claessonin luo, jonka määräämää hintaa Robert ei suostu maksamaan. Claesson vastaa kiristyksellä, uhkaamalla ilmiantaa Robertin, ellei kauppoja synny, ja lahjoo matami Johanssonin luovuttamaan itselleen Robertin väärennetyn passin. Manja tapaa Robertin tämän asunnossa ja vakuuttaa Claessonin tarkoittavan uhkauksellaan täyttä totta. Manjan ja Robertin suhde kehittyy läheiseksi ja kohtaus päättyy suudelmaan. Manja ehdottaa aktivisteille, että nämä varastaisivat aseet Claessonin asunnosta sillä välin kun mies on matkalla Turussa. Robertin äiti tulee tapaamaan poikaansa ja yrittää turhaan saada tätä luopumaan vaarallisesta toiminnastaan. Aktivistit sonnustautuvat hautajaissaattueeksi kuljettaakseen aseet ruumisarkussa pois Claessonin asunnosta. He myöhästyvät junasta ja joutuvat viemään arkun hautausmaan ruumishuoneelle iltaan saakka säilytettäväksi. Tällä välin santarmit ovat tehneet ratsian matami Johanssonin liikkeeseen ja pidättäneet naisen. Urkkijoidensa ansiosta he ovat myös aktivistien jäljillä ja tunkeutuvat Robertin asuntoon juuri, kun ruumisarkku on illalla saatu siirretyksi sinne: kaikkien yllätykseksi arkussa todella on ruumis. Seuraavana päivänä aktivistit onnistuvat vaihtamaan arkut kesken oikean hautajaissaattueen matkan järjestämällä liikenneseisauksen kadulle. Robert ja Manja ovat parhaillaan kokoamassa kuularuiskua, kun santarmit yllättävät heidät jälleen ja he joutuvat pakenemaan aseen osat mukanaan takaportaiden kautta ja pihojen läpi, kunnes muuan suutari tarjoaa heille piilopaikan asunnossaan. Kuularuisku kätketään lastenvaunuihin, jotka Manja venäläisen sotilaan lähentelyistä huolimatta onnistuu toimittamaan erään muuttokuorman mukaan. Varoituksista piittaamatta Robert palaa asunnolleen ja joutuu pidätetyksi. Manja hakee apua Robertin äidiltä, joka suvun asemaan vedoten on aluksi vastahakoinen mutta suostuu lopulta auttamaan. Äiti yrittää lahjoa vartijan, mutta ei pääse tapaamaan Robertia. Vartija takavarikoi omaan käyttöönsä suurimman osan äidin tuomasta ruokakorista, mutta jättää koskematta leivän, jonka sisältä Robert löytää aseen ja viestin. Tällä välin Claesson on palannut ja yllättää pimeällä kadulla Manjan, joka on matkalla täyttämään osansa pakosuunnitelmasta. Claesson vie Manjan väkisin asunnolleen ja uhkaa paljastaa suunnitelman. Manja yrittää pitää puolensa, mutta hänen pöydältä sieppaamansa pistooli osoittautuu tyhjäksi. Juuri kun Claesson on puhelimitse hälyttämässä santarmit, Manja heittää häntä raskaalla tuhkakupilla ja mies tuupertuu maahan. Manja ehtii vankilan ulkopuolelle hevosen ja vaunujen kanssa juuri ajoissa: Robert on sitonut vartijan ja päässyt portista venäläisen upseerin univormussa. Pako on kuitenkin huomattu ja kasakat seuraavat maaseudulle ajavia vaunuja. Robert on ohjaksissa ja onnistuu harhauttamaan takaa-ajajat niin pitkäksi aikaa, että karkulaiset pääsevät meren rantaan, missä aktivistit odottavat purjeveneen kanssa. Manja on kuitenkin haavoittunut kuolettavasti kasakoiden luodeista. Robert kantaa hänet veneeseen, joka kiitää turvaan avomerelle. Robert ei voi tehdä muuta kuin sulkea kuolleen Manjan silmät. - Suomen kansallisfilmografia 2:n (1995) mukaan. Lehdistöarvio Nyrki Tapiovaaran toinen ohjaustyö kohtasi ristiriitaisen ja yleensäkin varsin varauksellisen kritiikin. "Jännitysfilmi ja ohjaajan voitto", otsikoi A. S-o (Aira Sinervo, Suomen Sosialidemokraatti 7.9.1938) ja perusteli: "Oli suorastaan mestarityötä se, millä ohjaaja Nyrki Tapiovaara [- -] oli luonut uudelleen vanhan Helsingin pimeine ja ahtaine katuineen, huoneistoineen [- -] ihmisineen, jotka tyypiltään olivat kuin leikatut irti vanhojen perhealbumien kellastuneista valokuvakokoelmista. Tällaisessa kaikessa on ohjaaja tehnyt niin huoliteltua laatutyötä, että elokuva nousee huomattavasti yli tavallisen kotimaisen elokuvatason [- -]. Se oli seikkailufilmi, joka ei pyrkinyt niinkään paljon heijastelemaan erästä ajankohtaa kuin korostamaan juonen kehitystä, mutta sellaisena oli se parasta mitä meillä toistaiseksi on tällä alalla luotu." "Filmens konstnärliga tillgång är dess förra halvdel", katsoi H. K. (Hans Kutter, Hufvudstadsbladet 5.9.1938), "även om det gärna skall erkännas att den senare antagligen väl motsvarar en viss publiks fordringar på en spännande kväll. Och alltigenom väl och skickligt är filmen fotograferad av Blomberg och Gunnari. Nästan varje bild var ett raffinerat litet konstverk [- -] med ett rikt spel av ljus och skugga över ytorna. Nyrki Tapiovaaras regi kan inte endast räkna sig de stiltrogna interiörerna till förtjänst, han hade även lyckats mana fram en sällsynt livfull och saftig bakgrund med ett vimmel av originella och på kornet tagna typer." Kuvaus sai yleistä kiitosta, mutta sen "ranskalaisvaikutteita" ei nähty yksinomaan myönteisessä valossa. "Suomen filmitaide on taidetta, jota kannattaa etupäässä oma kansamme ja sen maalaisväestö", muistutti A. S-o. "Jos filmi rupeaa tyylillisesti menemään siihen, että sitä on vaikeata tajuta ja seurata, niin ei voi ennustaa sen tulevaisuudelle hyvää. Lisäksi ei ole syytä uskoa, että tuollainen dekadentti valokuvaustyylittely, joka ehkä on aitoa ranskalaisessa filmissä, olisi aidon suomalaisen hengen mukaista." "Kamera katsoo maailmaa milloin ylhäältä, milloin alhaalta käsin, toisinaan taas vinokulmasta ja aivan tavallisesta perusasennostaankin", kuvaili S-ö (Veikko Sirviö, Ilta-Sanomat 6.9.1938). "Näin on saatu syntymään varsin erikoinen ja vaihteleva kuvasarja, joka olisi täyden kiitoksen arvoinen, ellei valon ja varjon avulla järjestetyssä tehostuksessa olisi monin paikoin menty liiallisuuteen [- -]. Myönteisenä piirteenä panee merkille myös Matti Kurjensaaren vuorosanojen luistavuuden sekä George de Godzinskyn säveltämän musiikin riittoisuuden tapahtumien säestäjänä, minkä onnistumiseen osaltaan myötävaikuttaa Lauri Pulkkilan yleensä moitteettomasti suorittama äänitys." "Aktivistitoimintaa kuvaileva aihepiiri on käsikirjoituksessa jäänyt vaille sitä välttämätöntä johtolankaa", koki E. H. (Eino Ilmari Hukkinen, Helsingin Sanomat 6.9.1938), "jota ilman tällainen seikkailunomainenkin, jännitysmomenteista rikas kertomus jää kokonaisuutena melko hajanaiseksi. Tapahtumain johdonmukainen kehittely näyttää näinollen käyneen ohjaajalle (Nyrki Tapiovaara) ylivoimaiseksi. Sensijaan panee ohjauksessa merkille lukuisia yksityisiä onnistuneita kohtauksia, joissa ilmenee vauhtia, dramaattista tehoa ja filmaattista vaistoa." "Elokuvan käsikirjoituksesta on ilmeisesti puuttunut sitova punainen lanka, kiinteä juoni, joka olisi pitänyt esityksen koossa", arveli myös S. S. (Salama Simonen, Uusi Suomi 5.9.1938). "Ohjaaja Nyrki Tapiovaara on tyytynyt esittämään vain eräänlaisen hajanaisen kuvaelmasarjan, jonka eräät kohdat kieltämättä ovat verrattain hyviä, mutta kokonaisvaikutus jää auttamatta miinuspuolelle. Perusaiheen mielenkiintoisuudesta huolimatta Varastettu kuolema tahallisine tehontavoitteluineen jää vain hapuilevaksi kokeiluksi." "Päämääränä käsikirjoitusta laadittaessa ei ilmeisestikään ole ollut hyvä ja kokonainen elokuva, vaan pelkästään sensatio, joka herättäisi huomiota ja josta puhuttaisiin", ajatteli puolestaan nimimerkki T. (Ajan Suunta 6.9.1938). "Elokuvan pitäisi esittää helsinkiläisten aktivistiylioppilaiden toimintaa venäläis-japanilaisen sodan aikana. Kuitenkin on tuon toiminnan pohja, rakkaus isänmaahan ja Suomen kansan vapaudentahto jätetty kokonaan syrjään. Asehankinnoissa puuhaavat nuorukaiset voivat aivan yhtä hyvin olla venäläisiä nihilistejä kuin suomalaisia aktivistejakin - edelliseen viittaavat puheet vallankumouksesta ja tsaarista. Kun elokuvan on ohjannut "tulenkantajana" tunnettu Nyrki Tapiovaara, ymmärtää, mistä aatteellinen onttous johtuu. Tuosta onttoudesta kärsii sitten koko elokuva: siinä on suomalainen paikallisväri, mutta suomalainen henki puuttuu." Näyttelijöistä sai suurimmat kiitokset Tuulikki Paananen, joka esitti "vaativan osansa ilmeikkäästi ja eläytyneesti" (E. H.) ja jonka "esitys oli pehmeydessään, joustavuudessaan ja eläytymisessään parhaiden kotimaisten filmiosasuoritusten joukkoon luettava" (A. S-o). "Hän varmentaa tälläkin suorituksellaan asemansa eräänä suomalaisen filmin lahjakkaimmista näyttelijättäristä", kirjoitti S. S. Paanasesta ja jatkoi: "Santeri Karilo asekauppiaana pelastaa niinikään omat kohtauksensa ja valaa osaansa sopivaa jännitystä." Myös Annie Mörk sai huomiota "erinomaisena tyyppinä" (E. H.), kun taas Ilmari Mäntyä pidettiin soveliaana sankarityyppinä, mutta "vähemmän vakuuttavana" (E. H.) ja hänen koettiin "jättävän katsojan melko kylmäksi" (S. S.). Vuoden 1954 uusintaensi-illan ja myöhempien tv-esitysten yhteydessä suhtautuminen oli ratkaisevasti muuttunut. "Kotimaisen elokuvan näköpiirissä Nyrki Tapiovaaralla on tänäkin päivänä merkittävä ja yksilöllinen asemansa", kirjoitti Juha Nevalainen (Ilta-Sanomat 8.3.1954). "Kun nyt katselee Varastettua kuolemaa ja ajattelee elokuvan lyhyttä historiaa yleensä, tuntuu merkilliseltä, että suomalaisen elokuvan kehitys Tapiovaaran päivistä tähän hetkeen on voinut kulkea niin äärimmäisen hitaasti ja milteipä näkymättömästi. Tietenkin on selvää, että teknillinen kehitys on ottanut aimo harppauksia, mutta mihin on jäänyt elokuvamme kokeileva rohkeus ja polttava luomisilo, mihin on jäänyt kaikki se millä Tapiovaara yhä jaksaa innostaa katsojia." "Varastetun kuoleman uusintaesitys on merkkitapaus", tähdensi myös J. D. (Jörn Donner, Vapaa Sana 7.3.1954). "Varastettu kuolema on elokuva, jota sopii muistella, kun näkee tämän päivän suomalaisen elokuvateollisuuden tuotteita. Se on edelleen aktuelli, sen kuvat elävät edelleen voimakkaina, se kertoo meille tarinan suoraviivaisesti, ja elokuva kokonaisuutena antaa aavistuksen tekijöittensä rakkaudesta tähän vuosisatamme taiteeseen." Tv-esitysten yhteydessä Varastettu kuolema tunnustettiin "ehdottomaksi klassikoksi" (Harri Moilanen, Kansan Uutiset 13.9.1990) ja "yhdeksi näkemyksellisimpiä kotimaisia elokuvia" (Antti Lindqvist, Katso 20/1987 ja 37/1990), samalla kun Tapiovaaran asemaan ja "myyttiin" alettiin ottaa jo kriittistä ja problematisoivaa etäisyyttä. "Näkemystä Varastetun kuoleman erityisestä kunnianhimoisuudesta", kirjoitti Putte Wilhelmsson (Uusi Suomi 13.9.1990), "korostaa niin ohjaajan mytologioita ruokkiva hahmo kuin elokuvan valmistuminen kutakuinkin studiojärjestelmän ulkopuolella, kollektiivisen ponnistelun tuloksena. [- -] Varastetussa kuolemassa tiivistyy suomalaisen elokuvan historia: sen menneisyys tavassa, jolla Tapiovaara asiantuntevasti hyödyntää vuoden 1938 näkökulmasta menneitä elokuvallisia tyylejä, ja sen tulevaisuus hänen itsevarmassa taiteellisessa visiossaan." - Suomen kansallisfilmografia 2:n (1995) mukaan. Huomautukset Varastettu kuolema (1938) oli ensimmäinen Erik Blombergin tuottama elokuva. Rahoituksen järjestämisessä avusti vuorineuvos Matti Viljasen Eva-Lisa-tytär, itsekin aktiivinen lyhytelokuvien tekijä. Käsikirjoitus perustui Runar Schildtin novelliin Köttkvarnen (1919), jonka tapahtumat siirrettiin kansalaissodasta sortovuosiin, Venäjän - Japanin sodan (1904-05) tienoille. Käsikirjoituksen mukaan elokuvan oli määrä tapahtua osittain talvella, mm. loppukohtauksen "rannattomalla jäälakeudella". Varastettu kuolema kuitenkin kuvattiin lumettomana aikana maaliskuun puolivälistä 1938 lähtien. Käsikirjoitus on jaettu 42 jaksoon, joilla kullakin on oma otsikkonsa - tosin jaksot 17 ja 18 on yhdistetty. Kunkin jakson kuvanumerointi alkaa aina ykkösestä. Käsikirjoituksessa Robertin tovereita luonnehditaan nimillä Lyyrikko, Silmälasipäinen lukumies, Toimenmies, Lyhyt poika ja Tunnontarkka. Robertin muistikirjasta käy ilmi, että heidän nimensä ovat Aatos Salminen, Lennart Holm, Gösta Skog, Väinö Alajärvi ja Bruno Kuoppala. Ohjaustyössään Nyrki Tapiovaara sovelsi opintomatkoillaan Moskovassa ja Pariisissa saamiaan vaikutteita. Käsikirjoitusta muutettiin kuvattaessa ja monissa kohtauksissa improvisoitiin kuvauspaikalla. Myös leikkausvaiheessa kuvajaksojen järjestystä muuteltiin. Pituutta elokuvalle kertyi 105 minuuttia. Kun Varastettu kuolema vuonna 1954 lähti uusintakierrokselle, Erik Blomberg lyhenteli tuottajan oikeudella elokuvan "pahimpia krumeluureja" noin 15 minuutilla. Nämä tuottajan poistot ovat tallella Kansallisessa audiovisuaalisessa instituutissa. Miespääosan taiteilijanimen Ilmari Mänty taakse kätkeytyi Ralph Enckell, myöhemmin Suomen suurlähettiläs mm. YK:ssa, Tukholmassa ja Varsovassa. Rooli oli hänen ainoansa. Gabriel Tossun oikea nimi oli Ahti H. Einola. Alkuteksteissä Jalmari Parikan etunimenä on virheellisesti Ilmari ja Lida Salinin etunimenä Ida. Varastettu kuolema oli ensimmäinen elokuva, johon George de Godzinsky (1914-1994) sävelsi musiikin. Elokuvan yleisömenestys teatteriesityskertojen mukaan laskien jäi paljon vuoden keskitason alapuolelle. - Suomen kansallisfilmografia 2:n (1995) mukaan.

Monkey Business (1952)

Monkey Business: the rejuvenated Dr. Fulton (Cary Grant) takes Lois Laurel (Marilyn Monroe) to a ride.

Rakas, minä nuorrun / Åh, en sån fräckis / Föryngringsprofessorn / Chérie, je me sens rajeunir / Liebling, ich werde jünger. US © 1952 Twentieth Century Fox Corp. P: Sol C. Siegel. D: Howard Hawks. SC: Ben Hecht, Charles Lederer, I. A. L. Diamond – based on a story by Harry Segall. CIN: Milton R. Krasner – b&w – 1,33:1. AD: George Patrick, Lyle R. Wheeler. Set dec: Thomas Little, Walter M. Scott. Cost: Travilla. Makeup: Ben Nye. Makeup for Marilyn Monroe: Allan Snyder. Hair: Esperanza Corona, Louise Miehle, Helen Turpin. SVX: Ray Kellogg. M: Leigh Harline. M dir: Lionel Newman. Theme song: "The Whiffenpoof Song" ("We are poor little lambs / Who have lost our way") (The Whiffenpoofs group at Yale University, published in 1909, derived from "Gentlemen-Rankers" by Rudyard Kipling, comp. Guy H. Scull, ad. Meade Minnigerode). S: W. D. Flick, Roger Heman, Sr. ED: William B. Murphy. C: Cary Grant (Dr. Barnaby Fulton), Ginger Rogers (Edwina Fulton), Charles Coburn (Oliver Oxly), Marilyn Monroe (Lois Laurel), Hugh Marlowe (Hank Entwhistle), Henri Letondal (Dr. Siegfried Kitzel / Jerome Kitzel), Robert Corthwaite (Dr. Zoldeck), Larry Keating (G. J. Culverly), Douglas Spencer (Dr. Brunner), Esther Dale (Mrs. Rhinelander), George Winslow (little Indian). – Uncredited: Emmett Lynn (Gus), Heinie Conklin (house painter), Gil Stratton, Jr. (the Yale man), Harry Carey, Jr. (reporter), Olive Carey (Johnny"s mother), Kathleen Freeman (Mrs. Brannigan, neighbour), Roger Moore (bit part). US premieres: 29 Aug 1952 (Atlantic City), 5 Sep 1952 (New York City). Helsinki premiere: 30.1.1953 Rea, distributed by Oy Fox Films A.B. – telecast: TV1: 13.8.1967 and 16.9.1988, MTV1: 9.2.1980, MTV3: 18.2.1995 and 2.2.2002, Nelonen: 11.9.1999; Yle Teema 2.9.2012 and 3.11.2013 – VET 37176 – S – 2740 m / 97 min A print with Swedish subtitles (svensk redigering Elna Gardart) viewed at Cinema Orion, Helsinki (Howard Hawks), 22 April 2017 Revisited Monkey Business, one of those Howard Hawks comedies which turn out to be the more strange, curious and unclassifiable the more often one sees them. A special quality of Monkey Business is a play with tempi which can be compared with Dave Brubeck"s album Time Out in which each track ("Blue Rondo à la Turk", "Take Five") is composed to a different time signature. In the 1930s, particularly in His Girl Friday, Hawks tried to break speed records in his dialogue. Monkey Business starts at a daringly slow tempo, and there are passages later that border on somnambulism. But the tempi keep changing, and the amazingly downbeat opening provides a striking contrast to later fast slapstick passages. The comedy concept of monkey tests to produce a youth or virility elixir is traditional. Last year in Pordenone in Steve Massa"s Al Christie retrospective we saw Monkey Shines (1920) with a similar basic idea. It would be interesting to learn about the origins of this concept. In Hawks"s film there is a sense of gravity in the theme of growing old and losing one"s youthful zest of life. At the same time Monkey Business is a merciless satire on the youth cult and commercial attempts to provide elixirs to turn back time. "You are old when you forget you are young" is the final word of wisdom on the youth business adventure. I Was a Male War Bride, Hawks"s previous comedy, was an explicit tribute to the golden age of American screen comedy, most prominently to Chaplin and Keaton. The same goes for Monkey Business where the marvellous car racing sequence of Cary Grant and Marilyn Monroe has touches that resemble Keaton such as speeding through a straddle carrier. The roller-skating sequence with the acrobatic Grant brings to mind Chaplin"s The Rink. Monkey Business has also affinities with the films of Laurel and Hardy such as the scene where Ginger Rogers drops a live goldfish into the pants of the big boss, Oliver Oxly (Charles Coburn), bringing to mind Liberty. There is also a classic "tit for tat" sequence between Cary Grant and Ginger Rogers where they splash each other with paint with an abandon worthy of The Second Hundred Years. Let"s note the name Oliver, and also the name of his secretary: Marilyn Monroe as Lois Laurel plays the Stan Laurel character here (and, probably not coincidentally, Lois was the name of Stan"s daughter). As in I Was a Male War Bride Hawks and Grant seem to relish classical physical slapstick. There is an even more profound level of affinity with Laurel & Hardy. The essence of Laurel and Hardy is that they behave like children in grown-ups" clothes, exactly what happens to the scientists in Monkey Business after they have drunk the B-4 elixir. Which also reminds of Sergei Eisenstein"s essay Charlie the Kid: to Eisenstein, Chaplin"s secret is his double vision of everything with eyes of both a grown-up and a child. Ginger Rogers gets to do her thing in the ballroom sequence at Pickwick Arms, the honeymoon hotel. She performs a stunning dance number, but Cary Grant falls asleep during a slow waltz. Let"s face it: their chemistry is not convincing except as an account of growing estrangement in marriage. This is the only Hawks movie where the main couple is already married in the beginning. We are persuaded by the screenplay and the dialogue to believe that the thrill is alive in the marriage of Barnaby and Edwina Fulton. but it does not feel that way. Barnaby is introduced as a professor who is absent-minded in the extreme. There are even touches of dementia and Alzheimer"s in the performance, and Edwina compares her husband to a zombie – a living dead. The only moments when Barnaby comes fully alive are in the elixir sequences, and Cary Grant is in full form in them. For Marilynologists Monkey Business is interesting for several reasons. It was Marilyn Monroe"s last role before superstardom in Niagara. It was the last of her underwritten, demeaning, stereotyped supporting sex kitten roles. Neither Hawks nor Grant understood Monroe"s comic talent. Nevertheless the Grant & Monroe "elixir ride" sequence is the highlight, the anthology piece of the film. The comic timing is brilliant between the two (– "Is your motor running?" – "Is yours?" – "Takes a while to warm up". – "Does, me, too".) With Monroe, it took Hawks a while to warm up, but he would soon direct Monroe"s best film, the brilliant Gentlemen Prefer Blondes. In the Fulton marriage the question of childlessness, a probable source of its apathy, remains unaddressed. Children are missing, and the regression of grown-ups themselves to childhood and even infancy can be seen as a curse of childlessness. Children are usually not important in Hawks"s films, but in this period he introduced children in several comedies, always as savagely satirical mirror images of grown-ups. Towards the finale children are playing Indians in a nearby wood, and Cary Grant is again at his best when he joins their war dance in order to scalp Hank Entwhistle, played by Hugh Marlowe, the Ralph Bellamy character of this film, and indeed he succeeds in turning the respectable lawyer"s haircut into a Mohawk (Mohican / Iroquois). George Winslow, soon memorable as Henry Spofford III in Gentlemen Prefer Blondes, here plays the Indian chief. The dreadful signature song of the Fulton couple, "The Whiffenpoof Song" ("We are poor little lambs / Who have lost our way"), is instinctively abhorred by Lois Laurel when it is heard on the car radio, but its lyrics about having "lost our way" do seem relevant to the story. Monkey Business is a weird comedy, and its themes, the dream of eternal youth and turning back time, remain topical. A print with a very good visual quality. OUR PROGRAM NOTE BASED ON ROBIN WOOD ET AL.: OUR PROGRAM NOTE BASED ON ROBIN WOOD ET AL.: Niin kuin Bringing Up Baby (1938) myös Monkey Business esittelee aluksi Cary Grantin hajamielisen professorin osassa. Hajamielisyyden taustalla ei tällä kertaa ole dinosauruksen luuranko ja kuivakiskoinen morsian, vaan ilmeisen onnistunut ja vakaa avioliitto. Kuitenkin katsoja jo alkujakson jälkeen aavistaa, että onnellisen julkisivun takana on paljon tukahdutettuja asioita, joista ei koskaan puhuta eikä juuri edes ajatella. Elokuvan suuntaa on tämän perusteella vaikea arvata, mutta kehittelyn siemenet on kylvetty jo tässä alkujaksossa. Barnaby Fulton on kemiallisen tehtaan tutkija, joka työskentelee nuorentavan aineen keksimiseksi. Koe-eläimenä käytetty simpanssi onnistuu vahingossa keksimään oikean seoksen ja sotkemaan sen juomaveteen. Elokuvan ensimmäisellä puoliskolla Barnaby ja Edwina juovat vettä vuorotellen ja muuttuvat teini-ikäisiksi; toisella puoliskolla he juovat yliannoksen samanaikaisesti ja muuttuvat lapsiksi (ilman muuta fyysistä muutosta kuin parantunut näkökyky ja parantuneet selkävaivat). Ensimmäisen puoliskon komedia on niin nopeaa ja hauskaa, että katsojalla tuskin on aikaa tajuta mitä tapahtuu. Jatkossa hitaat ja nopeat kohtaukset vuorottelevat tehokkaasti, mustan komedian ja absurdin farssin vaihtelu on taidokasta. Satiirin kohteena on nuoruuden pakkomielle: nuoruuden lähteestä maistaneet vajoavat niin alas, että aivoton sihteeri, pikkupoika ja jopa simpanssi näyttävät olevan heidän yläpuolellaan. Barnabyn ja Edwinan suhde läpikäy ”alitajuisen vastenmielisyyden”, ”haudatun kaunan” ja lapsellisen mustasukkaisuuden vaiheet. He joutuvat myöntämään epäilynsä avioliitostaan. Itse asiassa vaakalaudalla on enemmän kuin heidän avioliittonsa: siinä on koko heidän elämänsä perusta. Nuorennuslääke on vapauttanut menneisyyden kaikki tukahdutetut impulssit, jotka heidän entinen, nykyinen ja tuleva elämänsä on kieltänyt; heidän elämänsä on perustunut juuri tälle tukahduttamiselle. Monkey Business on Hawksin yhtenäisimmin hauska elokuva ja samalla se on elokuva, jossa hän tulee lähimmäksi tragediaa. Arpinaaman gangsterien antisosiaalisen käytöksen lailla Monkey Businessin ihmisten persoonallisuusmuutokset vetoavat katsojan myötätuntoon. Tällainen tunteiden häiritsevä ambivalenssi – samanaikainen viehtymys rationaaliseen ja vaistonvaraiseen, sivistyneeseen ja primitiiviseen – on keskeistä suurelle osalle Hawksin tuotantoa. Monkey Business välittää tunteen vaarallisesta kontrolloimattomuudesta samalla kun se säteilee tarttuvaa hilpeyttä. Primitiiviset minämme tuntevat vastakaikua, sivistyneet minämme käskevät häpeämään tätä vastakaikua: tämä jännite kulkee läpi Monkey Businessin, ja Hawks onnistuu pitämään ristiriitaiset yllykkeet täysin tasapainossa, uhraamatta vitaalisuutta. – Robin Woodin (Howard Hawks, 1968 &1981) ja muiden lähteiden mukaan

Chronik der Anna Magdalena Bach

Chronik der Anna Magdalena Bach. Anna Magdalena in the company of her daughter, playing from her beloved Klavierbüchlein. Anna Magdalena Bachin kronikka / Anna Magdalena Bachs dagbok. DE/IT 1968. Year of production: 1967. PC: Franz Seitz Filmproduktion (Munich) / IDI Cinematografica (Rome) / Radiotelevisione Italiana RAI (Rome) / Straub-Huillet (Munich) / Hessischer Rundfunk HR (Frankfurt am Main) / Telepool Europäisches Fernsehprogrammkontor GmbH (München). P: Franz Seitz, Gianvittorio Baldi, Jean-Marie Straub, Danièle Huillet. [The first credit title cards of the film: (1): Chronik der Anna Magdalena Bach, (2) von Danièle Huillet und Jean-Marie Straub.] D+SC: Danièle Huillet, Jean-Marie Straub. CIN: Ugo Piccone. M: Johann Sebastian Bach: 5. Brandenburgisches Konzert / Allegro D-Dur / Solokadenz etc. (1721), BWV 1050 Klavierbüchlein für Wilhelm Friedemann Bach / Neun kleine Präludien / Das Präludium in E-Dur / (1720-1722), BWV 924-932 [Das wohltemperierte Clavier, Svite 6 avec Prelude, BWV 854/1], [Die französische Suite VI E-Dur BWV 817] Klavierbüchlein für Anna Magdalena Bach (1722) / Die französische Suite I in d-Moll / Menuett II, BWV 812 Sonate D-Dur [2] [für Viola da Gamba und Cembalo] / Adagio, BWV 1028 Triosonate 2 c-Moll [für Orgel] (1727) / Largo, BWV 526 Magnificat, D-Dur (1723) / 11. Chor "Sicut locutus est", BWV 243 Klavierbüchlein für Anna Magdalena Bach / Clavierübung: Partita VI e-Moll (1731-1741) / Tempo di Gavotta, BWV 830, Kantate Der zufriedengestellte Aeolus (1725) / Zerreisset, zersprenget, zertrümmert die Gruft / Bassrezitativ und Arie, BWV 205 Kantate Trauer-Ode (1727) / für Königin Christiane Eberhardine / "Lass, Fürstin, lass noch einen Strahl" / Finale "Doch Königin! Du stirbest nicht", BWV 198 Kantate Trauermusik (1727) / "Klagt, Kinder, klagt es aller Welt" / Köthener Trauermusik / für Fürst Leopold von Anhalt-Köthen / Sopran-Arie / BWV 244a Matthäus-Passion (1727), Anfangschor, BWV 244 Kantate "Am Abend aber desselbigen Sabbats" (1725), 1. Sinfonia, 2. Recitativo (Tenor, Fagott), BWV 42 Orgelpräludium h-Moll, BWV 544 Die h-Moll-Messe (1714–1749) / 1. Kyrie eleison, BWV 232 Kantate "Preise dein Glücke, gesegnetes Sachsen" (Geburtstagskantate) (1734) / Anfangschor, BWV 215 Himmelfahrtsoratorium (1735), 11. Choral (Finale): "Wenn soll es doch geschehen", BWV 11 Léonin: Florilegium portensa (Leoninus) (1100) / Missa latina / 11. dominica post Trinitatis, finale, 2. part Clavierübung Teil III / Chor "Kyrie, Gott, Heiliger Geist", g-phrygisch, a 5 con organo pleno (1739), BWV 671 Italienisches Konzert (aus Clavierübung Teil II) / Concerto nach italiaenischen Gusto / für zweimanualiges Cembalo in F-Dur (1735), Andante d-Moll, BWV 971 Kantate "Wachet auf, ruft uns die Stimme", Teil 3: Arie "Wenn kömmst du, mein Heil?" / "Wann kommst du, mein Heil?", Erstes Duett für Sopran und Bass (1731), BWV 140 Goldberg-Variationen, Variatio 25 a 2 Clav (für zweimanualiges Cembalo) ("adagio") (1741), BWV 988 Kantate "Ich habe genug" (1727), 4. Recitativo: "Mein Gott! wenn kömmt das schöne: Nun!", 5. Aria: "Ich freue mich auf meinen Tod", BWV 82 Musikalisches Opfer, c. 1–39, ricercare a 6 (sechsstimmiges Ricercar) (1747), BWV 1079 Die Kunst der Fuge (1750), contrapunctus XIV, BWV 1080 Orgelchoral "Vor deinen Thron tret ich" / Achtzehn Choräle von verschiedener Art / Leipziger Choräle (1750), BWV 668 Perf: Musica Antica Ensemble of Concentus Musicus, dir. Nikolaus Harnoncourt and Schola Cantorum Basiliensis, dir. Heinz Henning. ED: Danièle Huillet, Jean-Marie Straub. C: Gustav Leonhardt (Johann Sebastian Bach), Christiane Lang (Anna Magdalena Bach), Paolo Carlini (Doctor Hölzer), Ernst Castelli (Steger), Hans-Peter Boye (Born), Joachim Wolf (Rector), Rainer Kirchner (Superintendent), Eckart Brüntjen (Prefect Kittler), Walter Peters (Prefect Krause), Kathrien Leonhardt (Catharina Dorothea Bach), Anja Fährmann (Regine Susanna Bach), Katja Drewanz (Christine Sophia Henrietta Bach), Bob van Asperin (Johann Elias Bach), Andreas Pangritz (Wilhelm Friedemann Bach), Bernd Weikl (singer in Cantata BWV 205), Wolfgang Schöne (singer in Cantata BWV 82), Karl-Heinz Lampe (singer in Cantata BWV 42), Bernhard Wehle (Treble Voice in Cantata BWV 140), Christa Degler (voice of Anna Magdalena Bach in Cantata BWV 244), Karl-Heinz Klein (bass voice in Cantata BWV 140), Nikolaus Harnoncourt (Prince of AnhaltCöthen). 93 min A KAVI print (2005) with Finnish subtitles by Antti Alanen, Finnish lyrics to the Matthäus-Passion by Heikki Klemetti. Viewed at Cinema Orion, Helsinki (Reformation 500, Easter), 16 April 2017. One of the greatest and most original films on music, Danièle Huillet and Jean-Marie Straub"s Chronik der Anna Magdalena Bach, is our Easter film and Reformation 500 celebration film. Lutheranism was "the singing Reformation" and Johann Sebastian Bach its master. His life"s work has been called "the fifth Gospel". The screening is also a hommage to the memory of the musical directors and interpreters of the film, the masters of the 1950s Bach renaissance based on original Baroque instruments and interpretations, Gustav Leonhardt (1928–2012) and Nikolaus Harnoncourt (1929–2016) Chronik der Anna Magdalena Bach is a spiritual biography that covers the life of Johann Sebastian (1685–1750) during his second marriage (1721–1750), the one with Anna Magdalena. In this music-driven film music is more than the theme, it is the substance and the material. Everything is in its service. 5. Brandenburgisches Konzert / Allegro D-Dur / Solokadenz etc. (1721), BWV 1050 The freedom and joy of life under Prince Leopold at Köthen. A brilliant solo clavier cadence by Leonhardt as the spiritual incarnation of Bach followed by an eruption of happiness from the orchestra. Klavierbüchlein für Wilhelm Friedemann Bach / Neun kleine Präludien / Das Präludium in E-Dur / (1720–1722), BWV 924-932 [Das wohltemperierte Clavier, Svite 6 avec Prelude, BWV 854/1], [Die französische Suite VI E-Dur BWV 817] Wilhelm Friedemann, Bach"s eldest son, at play with exercises about to develop into The Well-Tempered Clavier. Klavierbüchlein für Anna Magdalena Bach (1722) / Die französische Suite I in d-Moll / Menuett II, BWV 812 This Klavierbüchlein was Johann Sebastian"s labour of love for his musical family and a source of ideas for his creative career. The newly married Anna Magdalena plays with slow concentration a famous theme now known in faster virtuoso intepretations by Glenn Gould and others. Sonate D-Dur [2] [für Viola da Gamba und Cembalo] / Adagio, BWV 1028 Bach in the same viola da gamba territory as his French contemporaries Sainte-Colombe and Marin Marais, immortalized in the film Tous les matins du monde. Triosonate 2 c-Moll [für Orgel] (1727) / Largo, BWV 526 A solo organ piece. Anna Magdalena"s commentary covers key points in Johann Sebastian"s Werdegang. We learn about his crushing workload after the happy days at Köthen. Magnificat D-Dur (1723) / 11. Chor "Sicut locutus est", BWV 243 The evolution of the mastery in the architecture of the chorale. Klavierbüchlein für Anna Magdalena Bach / Clavierübung: Partita VI e-Moll (1731–1741) / Tempo di Gavotta, BWV 830 The family keeps growing. Johann Sebastian had 20 children, half of them with Anna Magdalena. 10 survived. The agony of the deaths of children is sublimated in music. Also in this piece the interpretation is more slow and emphatic than is usual today. (See image above). Kantate Der zufriedengestellte Aeolus (1725) / Zerreisset, zersprenget, zertrümmert die Gruft / Bassrezitativ und Arie, BWV 205 The performance of the magnificent secular cantata is conveyed via a moving camera and expressive tracking shots. Kantate Trauer-Ode (1727) / für Königin Christiane Eberhardine / "Lass, Fürstin, lass noch einen Strahl" / Finale "Doch Königin! Du stirbest nicht", BWV 198 The official funeral music expresses also private mourning in the Bach family. Kantate Trauermusik (1727) / "Klagt, Kinder, klagt es aller Welt" / Köthener Trauermusik / für Fürst Leopold von Anhalt-Köthen / Sopran-Arie / BWV 244a The happy days with Leopold are past. Now the Prince himself is dead. Matthäus-Passion (1727), Anfangschor, BWV 244 From the very first notes this interpretation takes our breath away. The passion of Jesus, the passion of Johann Sebastian, the passion of us all. Kantate "Am Abend aber desselbigen Sabbats" (1725), 1. Sinfonia, 2. Recitativo (Tenor, Fagott), BWV 42 Among deeply spiritual works we learn about temporal woes of Johann Sebastian and his family. The troubles, the envy, the persecution. The rising costs of living, the necessity to get extra income. Orgelpräludium h-Moll, BWV 544 Bach at his most magnificent as a solo organ player. Work as life, life as work. Friedemann the eldest son is getting a solid foothold in life. Die h-Moll-Messe (1714–1749) / 1. Kyrie eleison, BWV 232 Composed during a Landstrauer and family mourning. Children keep dying. The pain and the suffering border on the unbearable. Kantate "Preise dein Glücke, gesegnetes Sachsen" (Geburtstagskantate) (1734) / Anfangschor, BWV 215 A royal birth celebration at night lit by a torch, with what looks like rear projection. Himmelfahrtsoratorium (1735), 11. Choral (Finale): "Wenn soll es doch geschehen", BWV 11 Bach keeps composing large scale works for major celebrations of the church calendar. This is the Ascension Oratorium. Meanwhile he keeps fighting mediocrities who try to interfere with his work. Leoninus: Florilegium portensa (1100) / Missa latina / 11. dominica post Trinitatis, finale, 2. part The only composition not by Bach in this film, a classic Medieval chant by Léonin, a Frenchman. Bach keeps fighting a mediocre choir leader. The choirboys join to say grace before dinner. Clavierübung Teil III / Chor "Kyrie, Gott, Heiliger Geist", g-phrygisch, a 5 con organo pleno (1739), BWV 671 For organo pleno, another magnificent solo organ piece. The camera tracks slowly towards Bach. [n.c.] The music sampled on the clavier remains unidentified as Bach is seen teaching the basso continuo and the Generalbass. He makes explicit the deepest meaning of music. It is composed in God"s honour and to the recreation of the spirit. There are woes with the prodigal son of the family. Italienisches Konzert (aus Clavierübung Teil II) / Concerto nach italiaenischen Gusto / für zweimanualiges Cembalo in F-Dur (1735), Andante d-Moll, BWV 971 A visiting cousin practises at the clavier. A beautifully singing redpoll bird in a cage is welcomed at the Bach house. Anna Magdalena is bedridden, not feeling well. Kantate "Wachet auf, ruft uns die Stimme", Teil 3: Arie "Wenn kömmst du, mein Heil?" / "Wann kommst du, mein Heil?", Erstes Duett für Sopran und Bass (1731), BWV 140 The duet of the soprano and the bass conveys the deep longing of the bedridden Anna Magdalena. Clouds move slowly across the sky. The foliage of the trees moves almost imperceptibly. Goldberg-Variationen, Variatio 25, a 2 Clav (für zweimanualiges Cembalo) ("adagio") (1741), BWV 988 This "black pearl" (Wanda Landowska) of the Goldberg Variations harks back to Anna Magdalena"s little clavier book. Played by Leonhardt on the zweimanualiges cembalo it sounds very different from contemporary piano interpretations. Kantate "Ich habe genug" (1727), 4. Recitativo: "Mein Gott! wenn kömmt das schöne: Nun!", 5. Aria: "Ich freue mich auf meinen Tod", BWV 82 "I have had enough". Another composition germinating from Anna Magdalena"s little clavier book. A frank expression of the death wish. On the other hand, Johann Sebastian is now a proud grandfather. A profound joy comes forth. Musikalisches Opfer, c. 1-39, ricercare a 6 (sechsstimmiges Ricercar) (1747), BWV 1079 Bach"s mastery and virtuosity is demonstrated with instant variations on a princely theme. At the same time this work is a display of musical thinking at its deepest. Die Kunst der Fuge (1750), contrapunctus XIV, BWV 1080 While Bach is busy working on this magnum opus he falls victim to a vicious eye disease. Operations fail repeatedly. Orgelchoral "Vor deinen Thron tret ich" / Achtzehn Choräle von verschiedener Art / Leipziger Choräle (1750), BWV 668 "I step forward in front of your throne". The blind Bach stands in front of a window – and a light he cannot now see. The music continues after the image turns dark. There is no "The End" title. A brilliant print that we bought 12 years ago from Danièle Huillet. It looks like it has been struck from the camera negative. BEYOND THE JUMP BREAK: OUR PROGRAM NOTE BASED ON RICHARD ROUD: BEYOND THE JUMP BREAK: OUR PROGRAM NOTE BASED ON RICHARD ROUD: "Elokuvamme Anna Magdalena Bachin kronikka lähtökohtana oli ajatus elokuvasta, jossa musiikkia käytettäisiin – ei säestyksenä, ei kommentaarina – vaan raaka-aineena… Halusimme myös kuvata rakkaustarinan joka on erilainen kuin kaikki muut: nainen puhuu miehestään, jota hän rakasti tämän kuolemaan asti. Tarina on siinä: elämäkertaa ei voi tehdä ilman ulkoista näkökulmaa, ja tässä sellai-sena on Anna Magdalena Bachin tietoisuus." (Jean Marie Straub). Anna Magdalena Bachin kronikan tekstin ovat kirjoittaneet Danièle Huillet ja Jean-Marie Straub, ei Anna Magdalena Bach. Siinä mielessä koko elokuva on puhdasta fiktiota, vaikka sen teksti perustuukin pariinkymmeneen historialli-seen dokumenttilähteeseen. Mutta elokuvan olennaisin elementti on Bachin musiikki, joka tietysti oli keskeisintä hänen elämässäänkin. Straub kertoo, että musiikki määritti koko elokuvan hahmon, sen otosten pituuden. Toisaalta hänen musiikkiotteiden valintaansa ovat voineet vaikuttaa myös elokuvan muut aiheet: se on, kuten Straub sanoo, rakkaustarina, ja se on myös elokuva poliittisista ja sosiaalisista tekijöistä. Elokuva alkaa Anna Magdalenan ja leskeksi jääneen Bachin häistä ja päättyy Bachin sokeutumiseen, epäonnistuneeseen leikkaukseen ja kuolemaan vähän tämän jälkeen. Anna Magdalena Bachin kertojaääni puhuu paljon enemmän Bachin ammatillisista ja aineellisista ongelmista kuin heidän yhteiselämänsä henkilökohtaisista puolista, ja tuskin mitään tunteistaan miestään kohtaan. Siitä huolimatta elokuva välittää vaikutelman syvästä ja kestävästä rakkaudesta. Tämän saa aikaan osin kertojaäänestä kuultava hellyys, mutta ennen kaikkea tekstin ja musiikin rinnakkain asettelu. Kun Straub käyttää "Die Kunst der Fugen" keskeneräiseksi jäänyttä ”Contrapunctusta” säestämään Bachin sokeutumisesta ja lähestyvästä kuolemasta kertovia sanoja, hän rikastaa sekä musiikin että tekstin merkitystä. Straubin kohdalla tämä esimerkki on miltei melodramaattinen; yleensä keinot ovat hienovaraisempia, vaikka vaikuttavia. Miltei perverssillä tavalla Straub tuskin koskaan näyttää puolisoita yhdessä, ja vain kerran hän suo heille hyväilyn – mutta sitä suuremmalla voimalla se sitten vaikuttaakin. Mutta toisella tasolla elokuva on dokumentaari näytteli-jöistään ja muusikoistaan ja itse musiikin tekemisen käy-tännöstä. Bachia esittävä Gustav Leonhardt ja muut roo-leissa esiintyvät muusikot ovat todella nauhoittaneet mu-siikin kameran edessä, ja lähes jokainen musiikkiote on kuvattu yhdellä otolla. Äänityksessään Straub ei ole pyrki-nyt minkäänlaiseen akustiseen balanssiin, vaan on sijoit-tanut mikrofonin sinne missä kamera on. Usein hän on käyttänyt vain yhtä mikrofonia. Paitsi että tämä on rehelli-sempää, se tuo katsojan lähemmäs musiikin tekemisen, muusikoiden, toimintaa. Minimalistisella tyylillään Straub pyrkii saamaan katso-jan katsomaan yhä syvemmälle tarjottuun näkymään, kunnes hän, kuten Straub sanoo, pystyy näkemään lehtien liikkeen puissa. Ensinäkemältä näyttää siltä, että Straub tyytyy antamaan musiikin puhua puolestaan, ei yritä ilmaista musiikkia vaan antaa sen ilmaista itseään. Elokuva näyttää kuvatun äärimmäisen yksinkertaisesti – ja yritys kilpailla Bachin arkkitehtuurin kanssa olisikin tuomit-tu epäonnistumaan. Tämän sijasta Straub on tiivistänyt musiikin dynamiikkaa rajoittamalla visuaalisia keinojaan, ja tämä kontrasti luo erinomaisesti perspektiiviä musiikin monimutkaiseen rakenteeseen. Tyylin näennäisen yksinkertaisuuden ei kuitenkaan tarvitse antaa pettää itseään. Jokainen jakso on otos, pienine kuvakulman muutoksineen ja vähäisine kameranliikkeineen, on taitavasti rakennettu, ja otosten jaottelu ja organisointi on huolellisesti mitattua. Straubin intuitiivinen matematiikka, joka tarjoaa hänen elokuviaan yhteen sito-van rytmisen perustan, sallii silti tilaa virheelle, elämän epäsäännölliselle henkäykselle. Tällä ajan ja tilan moni-mutkaisella arkkitehtuurilla on tietenkin pätevyyttä vain jos se vaikuttaa katsojaan emotionaalisesti. Mutta koska luvut ovat kaiken runouden ja musiikin perusta, ei elokuvan matemaattisen rakenteen ja sen emotionaalisen vaikutuk-sen välillä ole välttämättä ristiriitaa. Straub on palannut Bachin musiikin alkulähteelle, lukuihin, ja onnistunut siten luomaan elokuvan, ei Bachin musiikista, vaan tuolla mu-siikilla. – Richard Roudin (Straub, 1971) ja muiden lähteiden mukaan EA

Tom of Finland

Tom of Finland. The revelation. Touko"s (Pekka Strang) greatest supporter has been all his life his sister Kaija (Jessica Grabowsky), but she has had no idea of his career as Tom of Finland. Please click on the image to enlarge it. FI 2017 © Helsinki-Filmi. PC: Helsinki-Filmi. With: Anagram Väst (Sweden), Fridthjof Film (Denmark), and Neutrinos Productions (Germany). P: Aleksi Bardy, Miia Haavisto, Annika Sucksdorff. D: Dome Karukoski. SC: Aleksi Bardy based on a story by Aleksi Bardy and Dome Karukoski. Cin: Lasse Frank Johannessen. PD: Christian Olander. AD: Lotta Bergman, Ricardo Molina, Astrid Poeschke, Riina Sipiläinen. Set dec: Christoph Merg. Cost: Anna Vilppunen. M: Hildur Guðnadóttir, Lasse Enersen. "Suomen laulu" (Fredrik Pacius, Emil von Qvanten, Taavi Hahl, Aleksanteri Rahkonen). Claude Debussy: "Préludes: Premier livre: 8: La fille aux cheveux de lin". S: Niclas Merits. ED: Harri Ylönen. Art: Tom of Finland. C: Pekka Strang (Touko / Tom), Lauri Tilkanen (Veli / Nipa), Jessica Grabowsky (Kaija), Taisto Oksanen (Alijoki), Seumas Sargent (Doug), Niklas Hogner (Kake), Jakob Oftebro (Jack), Kari Hietalahti (Sahlin). Loc: Finland, Sweden, Germany, Spain, and Los Angeles. Language: Finnish and English and some German. 116 min The film is a part of the Finland 100 jubileum program. 2K DCP with Finnish / Swedish subtitles (n.c.) released by Finnkino Oy. Premiere: 24 Feb 2017. Viewed at Tennispalatsi Scape, sound system Dolby Atmos, Helsinki, 25 Feb 2017. Tom of Finland is the first Finnish fiction feature film on love between men. (There has been a film on love between women, Tuija-Maija Niskanen"s Avskedet / Jäähyväiset / The Farewell [1982], a Swedish-Finnish co-production of a Finnish story). Tom of Finland is a fascinating story on the gay history of Finland. The trajectory from repression to liberation within a lifetime has universal significance. Even more generally, Tom of Finland is an engrossing tale about the courage and pride of "this above all: thine own self be true". Touko Laaksonen (19201991) was a graphic artist and cartoonist whose homoerotic visions influenced gay culture worldwide, including clubs and bars, Village People and Freddie Mercury. Laaksonen was an inventor in gay pornographic imagery often featuring policemen, firemen, bikers, soldiers, and lumberjacks. His images radiated self-confidence and a sense of humour. I stumbled upon the art of Tom of Finland for the first time as a student in West Berlin in the early 1980s. I did not even know whether Tom was really Finnish, nor did hardly anybody in Finland. Tom"s secret was revealed in Finland first in 1990 in the Image magazine, a year before his death. When we mounted Finland"s first gay and lesbian film retrospective at Cinema Orion in 1989 we were concerned about the reception and expected it to be a flop, but it became our all-time most successful retrospective. The retrospective stretched over months, there were queues on the street, and the cinema was packed. Soon after several gay bars emerged at Eerikinkatu and in the neighbourhood, and even a short-lived gay bookstore popped up. Even then we were not aware of Tom"s Finnish identity. The first Tom movie, Ilppo Pohjola"s Daddy and the Muscle Academy (1991), made in collaboration with Touko Laaksonen himself, had its premiere at the Cinema theatre in the same month when Laaksonen died. I"ll never forget the teams of young girls coming to Cinema... perhaps to admire the giant tools of Tom"s bikers and lumberjacks, abundantly on display. Which reminds us that Tom never ignored hyperbole as a basic principle of pornographic fiction. Tom of Finland the movie gives new insights to the man and the phenomenon. Touko"s war trauma is powerfully conveyed. (In WWII Finland fought the USSR in two wars, 19391940 and 19411944, and Germany in 19441945). Touko fights valiantly as an officer and is decorated in the 19411944 war but after the war he turns psychotic. He suffers from insomnia and nightmares, and bangs at his piano at night. His sister Kaija does her best to help him. During the war Tom admired Nazi uniforms although he, being gay, was self-evidently anti-Nazi. Tom"s nightmare memory of having stabbed to death a Soviet paratrooper transforms into a vision of masculinity inspired by the dead soldier"s face that he never forgets. The film provides a lively account of the hidden gay life in Finland when homosexuality was illegal (until 1971) and classified as an illness (until 1981). I do not remember seeing accounts of Finnish gay parties from the period before. There were informers and police raids. Touko"s diplomat friend Alijoki (Taisto Oksanen) is caught and sent to the Lapinlahti mental hospital where he decides to "reform". In Finland Touko lives a double life but in California he receives a hero"s welcome. Gay men thank him for the pride of their very existence as homosexuals. He has become a worldwide inspiration for a generation of gay men. "You made these different boys feel special". Touko"s partner all his life is Nipa (Lauri Tilkanen) who dies of lung cancer. The deathbed farewell scenes are moving and humoristic. Touko"s most important helper all his life is his sister Kaija (Jessica Grabowsky), but she has had no idea of her brother"s double life. First after Nipa"s death Touko reveals her his secret life as Tom of Finland (see image above). "They appreciate me out there". Examining her brother"s drawings Kaija is endlessly shocked and repelled at "the filthy pictures" in one of the strongest scenes of the movie. When the AIDS epidemic breaks out in 1981 Touko takes full responsibility. "I caused all that". He blames himself for having inspired men to something that has turned lethal. The war trauma and the AIDS trauma are the two biggest crises of Touko"s life. Touko stops drawing but starts again now at first focusing on safe sex and condom use. In his last years he is finally publicly acclaimed as an artist for the general audience and his art is displayed in respectable galleries such as Amos Anderson in Helsinki. Pekka Strang gives a strong performance in the starring role. He incarnates the different ages of Touko Laaksonen believably. He carries the crucial crises and turning-points with conviction. Overall the movie would have deserved a Viagra shot. Perhaps making a 12-rated film of a 18-rated subject has been somewhat discouraging to the film-makers. Meanwhile the Tom phenomenon has become domesticated, anyway. From Tom"s taboo status in the 1980s he has changed into a national pet featured in postage stamps and Finlayson bedsheets and towels. Tom"s men have even been compared with Moomin trolls. In the Tennispalatsi Scape screening the visual look seemed needlessly bleak. P.S. 9 March 2017. Today at Helsingin Sanomat Mari Koppinen writes in her column about Tom of Finland"s passion for chorus singing. There is a memorable sequence about this in Dome Karukoski"s movie, where the soldiers, facing defeat, sing together "Suomen laulu" ["The Song of Finland"]. It is a sequence of great dignity. BEYOND THE JUMP BREAK: TOM OF FINLAND PRESS KIT BEYOND THE JUMP BREAK: TOM OF FINLAND PRESS KIT SYNOPSIS Elokuva rohkeudesta, rakkaudesta ja vapaudesta Touko Laaksonen, taiteilijanimeltään Tom of Finland, on yksi Suomen kansainvälisesti tunnetuimmista kuvataiteilijoista. Laaksosen luomat lihaksikkaat ja estottomat nahkamiehet ovat saavuttaneet ikonisen aseman populaarikulttuurissa ja syrjäyttäneet entisen stereotypian, jossa homot nähtiin naisellisina, sairaina ja heikkoina. Laaksonen aloitti piirtämisen jatkosodan jälkeen huvittaakseen itseään ja ystäviään. Kuvat levisivät vähitellen maailmalle ja niitä julkaistiin 1950-luvulta alkaen mm. yhdysvaltalaisissa ”kehonrakennuslehdissä”. Suurin läpimurto tapahtui 1970-luvun loppupuolella, jolloin Tom of Finland -kuvia katsomalla kasvanut ja treenannut homomiesten sukupolvi kutsui Touko Laaksosen Los Angelesiin. Laaksonen lähti ja sai nähdä fantasioittensa muuttuneen lihaksi ja vereksi. Tom of Finlandin töitä on esitetty taidemuseoissa eri puolilla maailmaa niin kiertävissä näyttelyissä kuin osana pysyviä kokoelmiakin. Niiden arvo on tunnustettu paitsi populaarikulttuurin, myöskin korkeakulttuurin osana. Ensi-ilta: 24.2.2017 Ikäraja: 12 Pituus: 1 h 56 min Elokuvan budjetti: 5 miljoonaa € Kuvauspaikat: Suomi, Ruotsi, Saksa, Espanja ja Los Angeles Ohjaus: Dome Karukoski Käsikirjoitus: Aleksi Bardy Näyttelijät: Pekka Strang, Lauri Tilkanen, Jessica Grabowsky Tuotanto: Helsinki-filmi / Aleksi Bardy, Miia Haavisto, Annika Sucksdorff Levitys: Finnkinon elokuvalevitys @TomOfFinlandMovie @ToFmovie @tomoffinlandmovie KÄSIKIRJOITTAJAN SANA Tom of Finland on mittatilauksena kirjoitettu ohjaaja Dome Karukoskelle. Koska elokuva on kirjoitettu Karukosken ohjattavaksi, siinä ei ole pahoja pahiksia eikä voittamattomia sankareita. Kaikki hahmot ovat inhimillisiä ihmisiä puutteineen ja vahvuuksineen. Enää ei tarvitse todistaa, että homot ovat “yhtä hyviä” tai “samanlaisia” kuin heterot. Senhän tietävät kaikki. Tämä elokuva kertoo Touko Laaksosen jännittävästä ja eriskummallisesta elämästä ja siitä, miten tavallinen poika Kaarinasta voi muuttaa maailman piirtämällä toisenlaiseksi. Tom of Finlandin taiteen ansiosta maailmasta tuli iloisempi ja vapaampi paikka, ei vain homoseksuaaleille, vaan kaikille. Tom of Finland antoi kaikille maailman ihmisille luvan olla juuri sitä mitä he ovat ja fantasioida juuri siitä mistä huvittaa. Touko Laaksosen, ja melkeinpä kaikkien maailman ihmisten, elämästä voisi tehdä montakin elokuvaa. Tämä on niistä yksi: tarina siitä, miten vahva ase lyijykynä on. TUOTANTOYHTIÖSTÄ Helsinki-filmi on Suomen johtavia ja kansainvälisimpiä elokuvatuotantoyhtiöitä. Vuonna 2002 perustettu yhtiö on tuottanut jo yli 20 elokuvateatterilevityksen saanutta pitkää elokuvaa ja ollut mukana lukuisissa kansainvälisissäyhteistuotannoissa. Helsinki-filmin elokuvat ovat olleet tyypillisesti yleisö- tai arvostelumenestyksiä, tai parhaassa tapauksessa molempia. Nimekkäimpiä teoksia vuosien varrella ovat Napapiirin sankarit, Leijonasydän, Ganes, Kielletty hedelmä, Tyttö sinä olet tähti, He ovat paenneet, Presidentintekijät, Päin seinää ja Jättiläinen. Yhtiön omistavat tuottajat Aleksi Bardy, Annika Sucksdorff ja Miia Haavisto sekä ohjaaja Dome Karukoski. Pekka Strang näyttelee Touko Laaksosta, jonka elämä vie rintamalta taiteilijauralle, etsimään rakkautta ja lopulta kansainvälisesti tunnetuksi taiteilijaksi ja seksuaalivähemmistöjen oikeuksien symboleiksi nousseiden kuvien luojaksi. ”Tom of Finland vapautti homomiehet. Hänen rohkeutensa elää ja inspiroi edelleen ihmisiä ilmaisemaan itseään ja intohimoaan.” – Jan Förster, johtaja, Taidehalli ”In those days, a gay man was made to feel nothing but shame about his feelings and his sexuality. I wanted my drawings to counteract that, to show gay men being happy and positive about who they were. Oh, I didn’t sit down to think this all out carefully. But I knew — right from the start — that my men were going to be proud and happy men!” – Tom of Finland His Life and Times, 1991 TÄRKEITÄ VUOSILUKUJA TOUKON ELÄMÄSTÄ 1920 Toukokuun 8. päivänä syntyy kaarinalaiseen Laaksosten perheeseen poika, Touko. Perheeseen kuuluu opettajavanhemmat ja viisi lasta: Touko, Kaija, Hely, Pentti ja Salme. 1953 Touko tapaa Veli ”Nipa” Mäkisen, josta tulee hänen suuri rakkautensa ja elämänkumppaninsa. Perheelleen Touko kuitenkin esittelee rakkaansa pelkkänä kämppäkaverina koko heidän yhteisen elämänsä ajan. 1991 Touko menehtyy 71-vuotiaana keuhkoahtaumaan. Perhe saa tietää Toukon toisesta elämästä – homoseksuaalisuudesta, parisuhteesta ja taiteesta – vasta hautajaisten jälkeen. 1940 Ylioppilaskirjoituksia seuraavana vuonna nuori Laaksonen aloittaa varusmiespalveluksen. Ennen armeijaan lähtöään Touko tuhoaa kaikki eroottiset piirustukset, joita hän on salassa taiteillut. 1944 Jatkosodassa Helsingin ilmapuolustuksessa palvellut Touko Laaksonen saa ansioistaan 4. luokan vapaudenristin. 1957 Tom of Finland -taiteilijanimi syntyy, kun Toukon piirros julkaistaan amerikkalaisen Physique Pictorial -lehden kannessa. Taiteilija itse signeeraa teoksen pelkällä Tom-nimellä, mutta päätoimittaja lisää nimeen ”of Finland”-päätteen noudattaen lehden yleistä käytäntöä; muita saman ajan julkaistuja taiteilijoita olivat muun muassa ”Bruce of Los Angeles” ja ”Spartan of Hollywood”. 1984 Tom of Finland Foundation -säätiö perustetaan. Vapaus Tom of Finland antoi homomiehille kasvot ja vartalon. Kuvista syntyikansainvälinen vallankumous, jota ei enää voi pysäyttää. Lue lisää www.tof.fi/timeline OHJAAJAN SANA Touko Laaksonen eli aikana, jolloin yhteiskunnan lait ja normit yrittävät kieltää häneltä oikeuden olla oma itsensä. Hänen ja elokuvan tarina on osoitus siitä, miten ihminen voi yksin muuttaa maailmaa aseinaan vain taiteilijan välineet. Muotokuva arvostetusta taiteilijasta, ja muiden teemojen ohella myös rakkaustarina. Touko Laaksonen todella eli uskomattoman elämän, joka on jaettava koko maailman kanssa. CAST Ohjaus Käsikirjoitus Tarina Tuottajat Osatuottajat Vastaavat tuottajat Kuvaus Leikkaus Äänisuunnittelu Pääsäveltäjä Säveltäjä Sävelletyn musiikin tuottaja Pukusuunnittelu Lavastus Maskeeraussuunnittelu Erikoistehostemaskeeraaja Dome Karukoski Aleksi Bardy Aleksi Bardy Dome Karukoski Aleksi Bardy Miia Haavisto Annika Sucksdorf Malin Söderlund Gunnar Carlsson Miriam Nørgaard Caroline Eybye Ingvar Pórðarson Sophie Mahlo Johann Frank Simon Perry Dome Karukoski Mike Downey Sam Taylor Ronnie Fridthjof Lasse Frank DFF Harri Ylönen Niklas Skarp Christian Holm Hildur Guðnadóttir Lasse Enersen Fortunator Musik GmbH Jukka Immonen Anna Vilppunen Christian Olander Johanna Eliason Lars Carlsson CREW Yhteistuottajat Anagram Väst (Ruotsi), Fridthjof Film (Tanska) ja Neutrinos Productions (Saksa) Rahoittajat Suomen elokuvasäätiö, Suomi100, Swedish Film Institute, Danish Film Institute, Film i Väst, Medienboard Berlin-Brandenburg, Nordic Film and TV Fond, Atine, IPR.VC, Creative Europe, YLE, SVT ja DR. Myyntiyhtiö Protagonist Pictures DISTRIBUTOR"S SYNOPSIS: Tom of Finland -elokuva on kaunis ja kiehtova kuvaus suomalaisen taiteilijan Touko Laaksosen (Pekka Strang) matkasta kansainväliseen menestykseen. Elokuvassa Touko palaa jatkosodasta kotiin synkkään ja moralistiseen Suomeen, jossa homoseksuaalisuus on laitonta. Itseään ja ystäviään huvittaakseen hän alkaa piirtää lihaksikkaita, vapaita, estottomia ja ylpeitä homomiehiä. Piirrokset ovat Suomessa vaarallisia, joten Touko kätkee ne jopa sisareltaan Kaijalta (Jessica Grabowsky) siitä huolimatta, että sisarukset ovat hyvin läheisiä. Mainostoimistossa työskentelevä Touko rakastuu tanssija Veli Mäkiseen (Lauri Tilkanen), mutta joutuu salaamaan rakkaussuhteensa. Veli vannottaa Toukoa etsimään työlleen yleisön ja näin piirrokset kuljettavat Toukon Berliinin kautta Los Angelesiin, jossa hän saa ystäviensä avulla arvostusta taiteelleen. Tom of Finland -taiteilijanimellä signeeratut teokset saavat suuren suosion ja synnyttävät kansanliikkeen. Tom of Finland on eeppinen kertomus miehestä nimeltä Touko Laaksonen ja taiteilijasta nimeltä Tom of Finland. Tom of Finland -elokuva on osa Suomen itsenäisyyden satavuotisjuhlavuoden ohjelmaa vuonna 2017. SOUNDTRACK LISTING FROM ELONET Luonasi oli aina niin ihanaa Alkuperäinen nimi: Bei dir was es immer so schön Mackeben Theo, Beckmann Hans Fritz Sanoitus: Hildegard Knef Suomenkieliset sanat: Solja Tuuli © Universal Music Publishing Einmal wirst Du Dich verlieben H. Mayer, K. Hertha Esittäjä: Harald Anderson &© Targa-Musik Licensed from Upright Music Piano Concerto No. 1 Einar Englund Matti Raekallio, piano Tampere Philharmonic Orchestra Eri Klas, kapellimestari © Fennica Gehrman Oy, Helsinki 2003 Ondine Oy, ODE 1015-2 You"re My Seahorse Säveltäjä: Lasse Enersen Esittäjä: Lasse Enersen Jos kaikki Suomen järvet Sävellys ja sanat: trad. Smooth and Cool J. C. Dwyer, P.J. Frederick &© Upright Music | Megatrax Licensed from Upright Music Everybody"s Rockin" B.Lamdin, R. Vosloo &© Upright Music / Abaco Music Licensed from Upright Music My Sweet Hot Baby A. Sorgentone &© Upright Music / Deneb Records Licensed from Upright Music I Dreamt of You J. Bedient, A Griggs &© Upright Music/ Felt Soundworks Licensed from Upright Music Give Me More T. Strasser, A. Seelos &© Upright Music / Easy Listening Licensed from Upright Music BBB T. Harvey, Y. Tregger &© Upright Music / Justement Music Licensed from Upright Music Raw Ramblin S. Winter, J. Saba &© Upright Music / VideoHelper Licensed from Upright Music Strong Love Tuottaja: E.J. Emmons Säveltäjä: John Condon Esittäjä: Smokey © BMG Chapter Music Cocktail Piano T. Hillary &© Upright Music / Source In Sync Licensed from Upright Music Suomen laulu Säveltäjä: Fredrik Pacius Sanoitus: Emil von Qvanten Suomenkielinen käännös: Taavi Hahl, Aleksanteri Rahkonen Esittäjät: Polyteknikkojen Kuoro ry Préludes: Premier livre: 8: La fille aux cheveux de lin Säveltäjä: Claude Debussy Esittäjä: Lasse Enersen Take Me to Heaven Säv. & san.: K. Kessie, M. Goldstein Esittäjä: Sylvester © Silly Music / Sequins At Noon Music / Budde Music Scandinavia AB 1984 Unidisc Music Inc.

Manchester by the Sea

Manchester by the Sea / Manchester by the Sea. US © 2016 K Films Manchester. PC: Amazon Studios presents – in association with K Period Media – Pearl Street Films – The Media Farm – The Affleck/Middleton Project – Big Story – in association with Big Indie Pictures – CMP – OddLot Entertainment. P: Lauren Beck, Matt Damon, Chris Moore, Gigi Pritzker, Kimberly Steward, Kevin J. Walsh. D+SC: Kenneth Lonergan. CIN: Jody Lee Lipes – camera: Arri Alexa XT – camera format: Codex – source format: ARRIRAW 3.2K – master format: digital intermediate 2K – colour – 1,85:1 – release format: D-Cinema. PD: Ruth De Jong. AD: Jourdan Henderson. Set dec: Florencia Martin. Cost: Melissa Toth. Makeup: Liz Bernstrom. Hair: Frank Barbosa. SFX: Michael Dias. VFX: Hectic Electric. M: Lesley Barber. S: Jacob Ribicoff. ED: Jennifer Lame. Casting: Douglas Aibel. C as edited in Wikipedia: Casey Affleck as Lee Chandler Michelle Williams as Randi, Lee"s former wife, now remarried Kyle Chandler as Joseph "Joe" Chandler, Lee"s brother Lucas Hedges as Patrick Chandler, 16-year-old son of Joe and Elise Ben O"Brien as young Patrick Gretchen Mol as Elise Chandler, Joe"s former wife C. J. Wilson as George, the Chandlers" family friend Tate Donovan as Patrick"s hockey coach Kara Hayward as Silvie McGann, one of Patrick"s girlfriends Anna Baryshnikov as Sandy, one of Patrick"s girlfriends Heather Burns as Jill, Sandy"s mother Erica McDermott as Sue, boat yard boss Matthew Broderick as Jeffrey, Elise"s fiancé Oscar Walhberg as Joel, Patrick"s friend Stephen Henderson as Mr. Emery, Lee"s boss Loc: Manchester-by-the-Sea, Massachusetts, USA. Released in Finland by Walt Disney Studios Motion Pictures Finland / The Walt Disney Company Nordic with Finnish / Swedish subtitles by Timo Porri / Saliven Gustavson. Day of Finnish premiere: 24 Feb 2017. 2K DCP viewed at Kinopalatsi 9, Helsinki, 25 Feb 2017. I belong to the admirers of Margaret (2008 / 2011). That previous film directed by Kenneth Lonerghan was not theatrically released in Finland, but I was happy to discover it at Love & Anarchy the Helsinki Film Festival. Margaret it is one of the great films of the last ten years or so, and I have since been looking forward to the director"s next movie. Meanwhile I have yet to see Lonerghan"s debut feature You Can Count on Me (2000). All these three films by Lonerghan seem to share favourite actors and a similar approach to life. Like Margaret, Manchester by the Sea is about coming to terms with catastrophe. In Margaret the protagonist whose name is Lisa, not Margaret (the title of the film is a reference to a poem by Gerard Manley Hopkins), incarnated by Anna Paquin, is immature and not fully aware of the consequences of her actions nor of her very presence as a young woman. In a way Lisa is a walking minefield, taking first steps in becoming conscious of her impact. Margaret is a special and unique coming of age story. In Manchester by the Sea catastrophe has already taken place when the film starts but for a long time we have no idea what it is all about. We get to know the protagonist Lee Chandler (Casey Affleck) as a loner, a recluse, a janitor in Boston who takes care of his responsibilities professionally but without the tiniest bit of friendly courtesy. Lee is not helping any when there are difficult / impossible customers. His callous indifference makes matters worse and needlessly complicates things. Lee frequents bars but does not want to contact anyone, and after a few drinks he can turn irrationally violent. He seems to be courting disaster, perhaps even suicidally. In his way he is a walking minefield, too. Puzzlingly, we see in flashbacks a completely different Lee: a happy family man with a wife called Randi (Michelle Williams) and three children. He is good company, fun to be with, with many friends with whom he wants to party. We start to guess that he is divorced, and the separation has turned him into the depressive hermit he is now. What brings him back to his hometown Manchester-by-the-Sea is the death of his brother Joe (Kyle Chandler). In his will Joe has made Lee the guardian of the 16 year old Patrick (Lucas Hedges), Joe"s son, Lee"s nephew. Lee is ill at ease, and it is out of the question for him to stay at Manchester-by-the-Sea which would be essential for Patrick because of his school, hockey and basketball teams, rock band, the beloved family boat, and two girlfriends. Although our first impression of Pat is that he is clumsy and morose and violent a bit like Lee he is in fact popular. He has a lot of friends and more female attention than he can handle. Little by little we draw close to a flashback of the traumatic shocking event that has turned everything upside down. One night after a party with friends Lee had left the house to fetch more beer, having forgotten to install a safety grille at the fireplace. Apparently a log had come down from the fireplace and set the house on fire. During Lee"s absence of 40 minutes all three children of Lee and Randi burned to death, and Randi barely survived thanks to firefighters. Lee is devastated beyond words, and visibly dismayed by the fact that he is not facing any legal punishment he grabs a police officer"s gun and tries to shoot himself, but is prevented to do so at the last second. Lee never recovers and is reduced to a ghostly existence. Still he manages to be of real help to Pat who seems to be able to navigate better in his crisis of losing his father and being orphaned than his legal custodian Lee in his. Nevertheless Pat needs a father figure and appreciates Lee"s presence. Randi is newly married with a baby. There is a willpower and stamina in Pat which keep him going. A way is found to rescue Joe"s beloved Claudia Marie boat [this real-life name of the boat is in honour of an actual Manchester-by-the-Sea family tragedy], now belonging to Pat; the boat is in acute need of a new engine. Lee has been living in deep freeze, but the recent turbulence may have moved and shaken him in a good way. Life goes on. Like in Margaret, Lonerghan displays a special talent in a dense, novelistic approach. The characters are well rounded personalities including supporting characers such as Gretchen Mol as Pat"s mother Elise and Matthew Broderick as Jeffrey, his new fiancé. Although Elise seems to have beaten alcoholism a reunion vignette is sufficient for us to understand why it would be impossible for Pat to return to his mother. Lonerghan"s command of the complex flashback structure is assured. Shot in Massachusetts, the movie"s sense of place is intense. The atmosphere of the north coast of the Atlantic Ocean is palpable. The present of the narrative takes place from February to May. The coming of spring introduces a current of hope amidst tragedy. Like in Margaret, the score is important, and music replaces dialogue in key scenes. There are selections from Händel and Massenet, rock numbers by Pat"s band called Stentorian, and a complete performance of the composition called "Albinoni"s Adagio" (actually composed by Remo Giazzotto in 1958 in homage to Albinoni). That tune was an inspired discovery for film scoring when first used by Resnais and Welles in the early 1960s but long ago it has turned into a funeral standard. Lonerghan"s inspired idea is to use it intentionally as a standard, and the tune is revitalized as a bridge from Joe"s funeral to the flashback of the burning of Lee"s home. The cinematography of Margaret by Ryszard Lenczewski was immaculate. The movie had been shot on 35 mm and transferred to digital so exquisitely that I was not able to tell the difference between film and digital although I saw the movie on one of the biggest screens of the country. I had to climb to the projection room to make sure it was really a DCP and not a film print we had seen. The miracle of cinematography is similar in Manchester by the Sea, but this time the process is all digital, and the cinematographer is Jody Lee Lipes. Yet there is the same subtle poetry of light and nuance, an attention to fine soft detail, and tenderness in observing lighting conditions in different times of the day and different seasons. I was so enthralled by the cinematography that, contrary to my habit, I refrained from taking notes. BEYOND THE JUMP BREAK: FROM THE MANCHESTER BY THE SEA PRODUCTION NOTES: BEYOND THE JUMP BREAK: FROM THE MANCHESTER BY THE SEA PRODUCTION NOTES: In Manchester by the Sea, the latest film from award-winning writer and director Kenneth Lonergan, the life of a solitary Boston janitor is transformed when he returns to his hometown to take care of his teenage nephew. The story of the Chandlers, a working-class family living in a Massachusetts fishing village for generations, Manchester by the Sea is a deeply poignant, unexpectedly funny exploration of the power of familial love, community, sacrifice and hope. After the death of his older brother Joe (Kyle Chandler), Lee Chandler (Casey Affleck) is shocked to learn that Joe has made him sole guardian of his nephew Patrick (Lucas Hedges). Taking leave of his job, Lee reluctantly returns to Manchester-by-the-Sea to care for Patrick, a spirited 16-year-old, and is forced to deal with a past that separated him from his wife Randi (Michelle Williams) and the community where he was born and raised. Bonded by the man who held their family together, Lee and Patrick struggle to adjust to a world without him. In his first film since 2011’s acclaimed Margaret, Lonergan once again proves himself a powerful and visionary storyteller as he seamlessly weaves past and present together, crafting a tension-filled tale that deftly eschews sentimentality in favor of penetrating emotional insight and deeply affecting human relationships. Manchester By the Sea is written and directed by Kenneth Lonergan (You Can Count on Me, Margaret). The film stars Casey Affleck (Gone Baby Gone, The Assassination of Jesse James by the Coward Robert Ford), Michelle Williams (Blue Valentine, My Week with Marilyn), Kyle Chandler (“Friday Night Lights,” Zero Dark Thirty), Lucas Hedges (Moonrise Kingdom, The Grand Budapest Hotel), Gretchen Mol (The Notorious Bettie Page, Rounders) and C.J. Wilson (The Intern, “The Americans”). Producers are Matt Damon (Good Will Hunting, the Bourne franchise), Kimberly Steward (Through a Lens Darkly: Black Photographers and the Emergence of a People), Chris Moore (The Adjustment Bureau, Good Will Hunting), Lauren Beck (Junkyard Dogs, From the Future with Love) and Kevin J. Walsh (The Way Way Back, War of the Worlds). Director of photography is Jody Lee Lipes (Trainwreck, Martha Marcy May Marlene). Editor is Jennifer Lame (Mistress America, Paper Towns). Composer is Lesley Barber (The Moth Diaries, You Can Count on Me). Production designer is Ruth De Jong (The Master, The Tree of Life). Costume designer is Melissa Toth (Adventureland, Eternal Sunshine of the Spotless Mind). Executive producers are Josh Godfrey (Transcendence, Mirror Mirror), John Krasinski (“The Office,” The Hollars), Declan Baldwin (Still Alice, Captain Fantastic) and Bill Migliore (Leaves of Grass, Thanks for Sharing). Co-producer is Ryan H. Stowell (Puncture, “It’s Always Sunny in Philadelphia”). Associate producer is Katie Pastore (He’s Just Not That Into You, The Bourne Ultimatum). ABOUT THE PRODUCTION For the past two decades, Oscar®-nominated screenwriter, director and playwright Kenneth Lonergan has been quietly building a reputation as one of the most original voices in contemporary American filmmaking, crafting exquisitely emotional movies like You Can Count on Me and Margaret that have garnered rave reviews and multiple awards. Manchester by the Sea, Lonergan’s latest cinematic effort, earned universal praise at the 2016 Sundance Film Festival. The idea for the movie originated on the set of the 2011 film The Adjustment Bureau, where actor Matt Damon and his frequent collaborator, producer Chris Moore, were brainstorming possible projects for Damon’s directing debut. Actor John Krasinski was also on set and the three spent evenings kicking around story ideas that eventually yielded the seed for what would become Manchester by the Sea. From the beginning, Damon was a determined advocate for the story of a man whose life has been decimated by a single moment of unsteady judgment. He signed on as producer and made plans to both direct and star in the film. “Manchester by the Sea is a beautiful movie about a man who has to take care of his nephew after his brother dies,” says Damon. “The problem is that coming back to his hometown means he has to face the greatest tragedy of his life.” It was Damon who proposed approaching Lonergan to write the script. The two first met when the actor starred in the 2002 London production of the writer’s play, “This is Our Youth.” “Kenny’s writing is peerless,” says Damon, himself an Oscar-winning screenwriter. “Saying those words night after night gave me an appreciation for how perfectly they were crafted.” Intrigued by the premise, Lonergan spent the next two years exploring and expanding the initial events, themes and characters into an original story of his own. The screenplay that emerged is a complex, intricately layered tale that centers on Lee Chandler, who has grown up with his brother Joe, fishing the northeastern Massachusetts coastline and repairing the yachts of their wealthier neighbors. Joe has built a healthy business for himself and his son Patrick, but at the time the story begins Lee has fled Manchester to live in a Boston neighborhood where he ekes out a solitary existence as a custodian for a group of small working-class apartment buildings. A reliable and dedicated worker, Lee unblocks drains and takes out trash, letting off steam in local pubs (and occasional bar fights.) His strict routine allows him to interact with other people as infrequently as possible. Lonergan’s screenplay slips skillfully through time in a series of flashbacks that gradually reveal the secrets of Lee’s past, building to the shattering moment that drove him away from his home. As the truth gradually emerges, the reasons for Lee’s self-imposed exile begin to take shape. When Damon’s jam-packed schedule forced him to bow out as the film’s star and director, Lonergan took over the helm. Still, Damon’s continued support for the project was crucial to getting it produced, says Moore. “This is true auteur filmmaking. We all backed Kenny’s vision and let a great storyteller tell his story the way he wanted to.” Producer Kimberly Steward of K Period Media chose this film as the debut production of her new company based on the power of Lonergan’s script. “Kenny’s language is amazing and his ability to portray darkness, while still maintaining humor and wit, is something I haven’t really seen before,” she says. “We all had so much love and respect for Kenny. He’s decisive, confident, and has the ability to get his point across quite eloquently.” The screenplay moved producer Kevin J. Walsh to tears. “I cried many times reading this,” he says. “I was really touched by the script’s honesty and authenticity, because in real life things are not always neatly buttoned up. To be able to work on a movie like this even once in my life makes me really happy.” One thing everyone involved with the movie agrees on is that Lonergan is one of the most powerful screenwriters working today. Deeply empathetic and often scathingly witty, Manchester by the Sea captures the lives and the language of working-class New Englanders with startling accuracy. “This is a movie that will stay with people,” says Damon. “His characters are so deeply and richly drawn, with such great detail, that you believe in them. A lot of movie characters are pencil sketches. But Kenny’s really resonate because they feel like real life. With actors and writing of this caliber and Kenny’s direction, the movie is unforgettable.” Lonergan’s unique writing style may someday be recognized as the voice of a generation, in Moore’s opinion. “But he’s not just a great writer. He’s a masterful director as well. I don’t think anybody could direct his material the way he does. It is so subtle and nuanced, so carefully crafted, that only he can do it justice. Kenny did a great job of bringing humor and life to a difficult situation. I was blown away by the emotional spectrum — its authenticity, its warmth and also its rawness.” Lonergan is able to make audiences care about his fictional characters as if they were people they have known their whole lives, observes Moore. “He writes human drama and dialogue better than anyone I’ve ever seen. As a director, he has a real sense of who the actor should be, what the performances should be. It’s a hard film to label because it’s complex and elusive and even grand. Kenny writes in such a way that you can’t be sure what’s going to happen next. Two characters collide and that collision changes them both. Audiences will feel like they have seen real people and they’re going to root for these characters.” Based on the acclaim for Lonergan’s two previous films, Moore believes audiences will be drawn to Manchester by the Sea to see what the director has come up with next. “It’s been a long time since Kenny has directed,” he continues. “I think there’s a pent-up demand for his work. He’s an artist who captures real life on the screen and examines relationships in an honest way.” There are no easy answers or convenient conclusions in Lonergan’s films, just as there are none in real life, according to Walsh. “Things don’t always end neatly,” he says. “There are hard knocks that come. At any moment, anyone can be disrupted, anything can happen. We are all just players in the greater scheme.” THE CHANDLERS OF MANCHESTER-BY-THE-SEA As a director, Lonergan has been widely praised for eliciting astonishingly detailed, often poignant work from his actors, on both stage and screen. With a cast that includes Casey Affleck, Michelle Williams, Kyle Chandler and young Lucas Hedges, Manchester by the Sea is a gallery of affecting performances. After his life was upended in a single night, Lee Chandler, played by Affleck, works as a janitor in a down-and-out part of Boston. “Lee has all but given up on other people,” says Damon. “He’s living a dead-end existence as a handyman. He drinks too much. He’s completely disengaged from life, except for his devotion to his brother Joe and Joe’s son Patrick.” Damon and Affleck had many discussions about how deeply connected Lee remains to Joe, even as he isolates himself from the rest of the world. His brother’s last act is an attempt to force Lee to reengage with the world. “Lee prefers not to spend time in his hometown, but he returns anytime Joe calls,” says Damon. “When his brother dies, Lee is on the road in 10 minutes to take care of all the details and to make sure Patrick is told about his father’s death in the right way by the right person. He does it all with more thoroughness and commitment to getting it done right than 100 ordinary weeping relatives. As much as he wants to be completely disengaged from life, Joe keeps him tethered to family. “This is one of the best roles I’ve seen in a long time,” Damon adds. “I can’t think of anyone who could do it as well as Casey. He locked right in and did something no other actor could do.” Affleck appeared in the London production of Lonergan’s “This is Our Youth” alongside Damon. “We’ve been friends ever since,” says Lonergan. “I think he’s one of the best actors out there. I knew he was going to be good in the part, but I didn’t have any idea how spectacularly nuanced and emotional his acting was going to be. Casey was extremely demanding of me — and of everyone — in a way that was stimulating and productive. Often, in exhaustive — and exhausting — conversations about character, something gets lost. Instead, Casey burrows into the situation and unearths more and more details throughout the shoot. He builds the specifics and detail he discovers until the character is real for both of us. It is a very exciting creative exercise. He was also totally unselfish in using all his experience in front of and behind the camera to make sure I was focused on making the movie I wanted to make, and in doing whatever he could to help me do what I wanted to do.” By revealing Lee’s history in snippets throughout the film, Lonergan creates an intriguing mystery that pulls the audience in, says Affleck. “You get to know and love the characters before you start to learn things about the past. They’ve all got some struggles, small and large. Lee is trying to discover a reason to keep going and eventually he finds that in the relationship with his nephew. It’s funny, it’s sad. And it feels very, very real.” But for Lee, the relationship with Patrick has an inherent cost. Manchester by the Sea is a place he wants desperately to avoid. “It’s just too charged for him there,” says Lonergan. “It’s a very small community. He can’t go anywhere without people knowing who he is and what happened to him. It’s torture for him to see any of the people there. But he has to come to help out with his nephew. He’s put in a position of either having to drag the nephew away, or stay somewhere where he can’t stand to be.” Lee has experienced things that would destroy most people, says Affleck. “He’s haunted by the past and has run away from everything he knows, because it’s too painful.” Everywhere he goes, Lee faces the whispers of his former neighbors. “Lee doesn’t want to be around anybody who knows what actually happened to him,” says Affleck. “In Boston, nobody has any idea. But Patrick wants to stay in his town for the exact reason Lee doesn’t want to be there — his history.” “Casey is a different actor than anybody working,” says producer Moore. “He has a very quick wit and a lot of depth. He brings so much emotion to his work. There’s some very sharp dialogue between Lee and Patrick. Casey’s deft sense of humor brings something unique to those exchanges. He really has an interesting approach to the role. I’m always impressed by his work, but this is a career-high role for Casey.” As good as it is, Affleck’s performance is matched scene after scene by Lucas Hedges, who plays Patrick. Even though he has lost his father and been abandoned by his mother, Patrick is in many ways a typical teenager. At 15, he has a good life that he just wants to hold onto. “He’s in a band, he’s on the hockey team, he’s got everything he loves in Manchester, including two girlfriends,” says Damon. “Joe was his primary caretaker. He was a great dad, but he’s gone and the kid still needs a father as he tries to figure out the future.” With a resilience forged by the difficult circumstances of his upbringing, Patrick is as eager to get on with life as his uncle is to avoid it. “He’s a teenager who is hurting and he’s got his guard up,” says Walsh. “He doesn’t quite comprehend that anybody’s life matters outside of his own. That’s the gist of the arguments between Lee and Patrick. They are unable to meet halfway.” Lonergan saw many young actors for the part before casting Hedges in the role. Currently a student at North Carolina School of the Arts, Hedges has already appeared in a handful of prestigious films including Wes Anderson’s Moonrise Kingdom and The Grand Budapest Hotel. “Lucas is just super talented,” says Lonergan. “He’s incredibly sensitive and really nice to be around. It’s a tricky role and he brings tremendous emotional life to the part. Patrick has been through a lot in his life, but it hasn’t broken his spirit. He has a certain buoyancy that Lucas embodies naturally. He’s also a smart ass. He’s tough, he’s totally relentless and really funny — all qualities it was thrilling to watch Lucas discover in himself and bring to life. It’s not just a talented kid acting natural for the camera. It’s a beautiful, detailed character turn from a very young actor; something you don’t see every day.” Hedges’ father, writer Peter Hedges, has known Lonergan for over 20 years from the New York theater world. “Apparently I met Kenny when I was 2 years old,” says the actor. “I was in a stroller. It’s the coolest thing that 16 years later, I’m in one of his movies.” But Hedges didn’t have to resort to nepotism to get the part. “My agent sent me in just like everybody else,” he says. “Patrick was the last major role to be cast. I had four or five auditions before they asked me to come up to Boston and read with the entire cast. Kenny offered me the part on the train ride back to New York.” Although Patrick is clearly in need of a father figure, it’s not clear that Lee is up for the challenge. “Patrick just wants love from Lee,” says Hedges. “He had a great relationship with his dad and he wants the same with Lee. He also wants to keep this life that he’s been living. He loves his home and friends. In many ways, his life is good.” But Lee is desperate to get back to Boston, disrupting Patrick’s education and social life. “When Lee arrives, he’s like a robot,” says Hedges. “He doesn’t have emotions any more. Patrick tries to bring him some humanity by joking and making fun of him. When Lee doesn’t give him what he wants, Patrick gets mad and fights back. It’s unfair to take him out of his home and bring him to Boston.” Affleck is one of Hedges’ acting heroes, according to the young performer. “I respect him so much. He doesn’t care what people think. He’s here to work. I appreciate the way he talks to colleagues and the ownership he took of his role. He showed me that a movie is ultimately the director’s vision, but the actor can have his own influence.” Hedges’ enthusiasm for working with Lonergan is just as profound. “I’ve worked with writer-directors before and they are usually better at one thing or the other,” says Hedges. “Kenny is the best of both. He is one of the few screenwriters and playwrights working today who writes the way people talk. The dialogue sometimes overlaps, which I had never seen before. Not everyone speaks in monologues. Kenny captures the messiness of real life. “And as a director, he spent so much time with me working out why I say something or how a scene should be played,” he continues. “He wanted go behind the scenes with me to explore Patrick’s past, his memories and insecurities, why he does what he does.” Hedges says he realizes he may never get another role as full and rich as Patrick Chandler. “It was a once-in-a-lifetime opportunity for someone my age to play a character so well developed and well written,” he says. “There’s no way to know if it will ever happen again, so I’m grateful to have this chance. Joe Chandler, the man who sets the film’s action in motion, is a salt-of-the-earth family man who has raised his son on his own, knowing that he has a heart condition that will likely put him in an early grave. With his last act, he tries to bring together the people who mean the most to him, in an effort to save them both. “He has tried for years to help Lee,” says Walsh. “By putting Patrick in his care, he is forcing his little brother to come out of his shell inch by inch. It’s a very loving way to try and help Lee get over his depression and his loss.” Kyle Chandler, who plays Joe, first came to Lonergan’s attention as an FBI agent in pursuit of Leonardo Di Caprio’s character in The Wolf of Wall Street. “He jumped out at me in that movie,” says the director. “He played the part with such great humor, as if he were amused by his quarry. I thought it was an amazing choice. I was really happy that he was able to do the part.” Steward agrees, saying that Chandler quite naturally stepped into the role of big brother in real life. “Kyle gave great advice to every one on the set, kept their spirits up and brought a cool, calm and collected dynamic to film.” A fisherman who works the Massachusetts waters, Joe is a mainstay of his tight-knit community. “Joe still lives in the town where he and Lee grew up,” says Chandler. “He has known for a while that he has a limited amount of time to live. When he passes, he leaves responsibility for his 15-year-old son to Lee. He knows Lee would do anything for Patrick and hopes that it can help heal his brother. It takes Lee by surprise and doesn’t make him happy, but it may save his life in the long run. The story is really about family and about one man’s struggle with this immense responsibility that is thrown on him. Lee’s heart is in the right place, but it’s not certain that he can deal with what he’s confronted with.” Reading the script for the first time was an emotional experience for Chandler. “It’s unusual for me to be so moved by a first read,” he says. “When I finished, I walked around wondering why I was crying. I read it again and I cried again. I met with Kenny the next day and we talked for an hour. I walked out thinking, gosh, I hope I get this. I got lucky as hell. I hope I’m lucky enough to work with him again.” If the quality of the writing was his main reason for signing on, Chandler knew he had made the right decision as soon as shooting began. “Kenny’s direction is astonishing and I don’t say that often,” notes Chandler. “After I saw the movie for the first time at Sundance, I realized it is a type of movie I had never seen before. It is so specifically Kenny’s voice. He’s not only very intelligent, he’s also one of the most honest people I’ve met. He knows how life works and he’s able to put that on the screen. I am a tremendous fan.” Michelle Williams delivers an emotional, finely wrought performance as Randi, Lee’s more resilient ex-wife. “She is spectacular,” says Lonergan. “I’ve wanted to work with her for quite a long time, since she was a teenager doing Off Broadway plays in New York. She’s become one of the most talented, versatile actresses out there, as well as an incredibly nice person.” Williams’ natural intelligence and authentic vulnerability made her the perfect choice for the role, says Affleck. “Her honesty is undeniable,” he adds. “Her characters always seem like real people, which means the audience is able to truly care about her.” Steward recounts with awe the actress’s first day on set. With the temperature hovering around 30 degrees, Williams was outside wearing only a nightgown in the New England winter. “She did take after take of this incredibly emotional scene and each one was perfection. Her transformation was astounding. Michelle is so delicate and soft-spoken and Randi is a lot more aggressive and edgy.” Williams says she was so overcome when she was offered the role that she actually cried. “I’ve always wanted to work with Kenny,” says the actress. “Nobody writes dialogue like he does. It’s completely natural and effortless. I’ve wanted to work with his words for a long time. You just have to hang on to the back of them. And he is one of the funniest people you’ll ever meet. He keeps things entertaining.” During their marriage, Lee and Randi have a warm, lived-in relationship full of humor and banter. “And then everything falls apart,” Williams says. “Casey has a lot of integrity and depth. I didn’t have to dig very deep to find those qualities in him.” With a limited amount of screen time, Williams creates an indelible portrait of a woman still struggling, but trying to recover from tremendous loss. “It was an unusual experience,” Williams says. “Because I’m not in the movie that much, I spent more time preparing for it than shooting it. Boston isn’t far from New York, so I would take the train up and walk around, go to coffee shops and shopping malls to absorb the place and the people and the accent. In relation to my time shooting the film, I spent an inordinate amount of time in the area.” Williams’ tremulous beauty is almost a distraction from the depth of her performance, says Moore. “It seems like the camera captures her soul. She represents the exact inverse way of reacting to tragedy than what Lee did. She’s not over it, she still cries. It’s still heartbreaking to her but she decided to power forward, and keep going. Michelle brings all of that just by being in the movie.” Also appearing in the film is Gretchen Mol in a touchingly fragile performance as Elise, Joe’s ex-wife and Patrick’s mother. “That was a very hard part to cast,” says Lonergan. “I had a very clear idea of the character in my head. Elise is very troubled, very bright, tense and anxious. She’s trying hard, but isn’t able to do what she wants and doesn’t know why. That’s a very hard thing to act. Gretchen brings this wonderful vulnerability that was exactly right for it.” Tony Award®-winning actor Matthew Broderick plays Elise’s second husband, a soft-spoken but rigid evangelical Christian who has no room in his ordered life for a troubled teenager. A veteran of both of Lonergan’s earlier films, Margaret and You Can Count on Me, Broderick’s low-key charm and self-effacing manner mask an intolerance that makes Patrick feel unwelcome in his mother’s new home. “Matthew is my best friend and one of my very, very favorite actors,” says Lonergan. “His range alone is breathtaking. I’ve been watching him act since we were in high school. He has a sense of humor second to none and a sense of character and story that I have almost never seen in another performer. His subtlety is mindblowing, but it’s his sense of reality that I rely on and admire the most. It’s so deeply ingrained in him — to stay alive and awake, under the given circumstances — that even your occasional bad ideas and worst impulses can’t really dislodge him from it. It’s very grounding. And even though he wears it lightly, he brings a quiet respectful professionalism to the set. He makes you feel like you’re all working on something important. He’s very relaxed about it, but it’s always there, and it gives everyone — especially me — great confidence.” Given the quality of the performances in Manchester by the Sea , it seems hard to believe that this was Lonergan’s first time working with most of the actors. “That’s something I don’t often do. I tend to work with the same people over and over — like Matthew, or Mark [Ruffalo] or J. [Smith-Cameron, who is also Lonergan’s wife]. I’m not a big risk taker. Or maybe it’s better to say when I see a good thing I like to stick with it. I’ve only made three movies, and with the other two I could count on one hand the number of people I hadn’t worked with before or didn’t know personally. “It was really exciting to see these actors put so much effort and intelligence into everything,” he continues. “Working with them to bring characters who used only to exist in my imagination into three-dimensional life, right before my eyes, is humbling and very gratifying. They show up and become someone you’ve only imagined. And they bring with them a complexity and depth of feeling and specificity of thought and behavior far, far beyond anything you might have cooked up on your little computer. It’s an absolute miracle to me, and I love them for it.” THE REAL NEW ENGLAND Shot in the Cape Ann region of northern Massachusetts, Manchester by the Sea captures the rugged beauty of the rocky shoreline, coves and marinas of Cape Cod’s lesser known cousin, as well as the working-class neighborhoods that the Chandlers and their friends call home. From late February to early May of 2015, Lonergan and his team filmed in several of the small cities that dot the area, roughly 30 miles northeast of Boston, including Manchester, Gloucester, Essex, Rockport and Beverly. The transition from winter into spring was an important metaphor for the director, says Steward. “He was very specific about needing to capture that on film,” she remembers. “It felt deeply connected to characters’ transitions.” Winter in the area was very cold, but very beautiful, according to Lonergan. “In Cape Ann, you are never far from water,” he notes. “I loved being by the ocean and inlets all the time. I loved shooting on the boat and in the dockyards and houses, even when we were in triple overtime and I just wanted to go to bed. Plus, the food was great. My favorite restaurant was the Clam Box in Ipswich, which has the best lobster rolls I’ve ever had.” Both Damon and Affleck grew up in Massachusetts and know the area well. “It’s the part of the world that I know best,” says Affleck. “The fishing towns of Massachusetts are filled with working-class guys struggling to get by and that fits the story. I hope my familiarity with the surroundings brings a certain level of authenticity to it.” Production designer Ruth De Jong developed a slightly gritty, realistic look for the film’s blue-collar settings. Almost everything was shot on location to keep it as natural as possible, she says. “When I first met with Kenny, we both agreed that we wanted to play this as true to life as we could, almost like a documentary. I always want the actors to be able to engage with the sets. But the idea was not to create a gray, miserable setting. I tried to give all of the character’s homes a very natural tone, keeping them bright and cheery as much as possible. Kenny was very keen on giving things an everyday feeling.” The first priority for the designer was to learn as much as she could about the people who inhabit the surrounding area. “Getting to the essence of who these people are was critical,” she says. “It took a lot of research and scouting. We spent time with the fishermen and working-class folks who live in these areas, as opposed to the people who use it as a vacation spot.” De Jong is particularly pleased with the authenticity of the skating rink where Patrick’s hockey practice takes place. “We had to do almost nothing to it. It’s a beautiful vintage rink with wooden bleachers. It has a lot of texture and beautiful natural light. Even better, the local companies who advertise there wanted to participate; everything is the real deal.” Working on Manchester by the Sea was the most collaborative experience she has ever had, says the designer. “The people were awesome. Everybody was excited to be there, and so hands on. We just had a lot of depth and richness there. Casey jumped in and scouted with me. When everybody’s working together on it, it helps the picture immensely.” The emphasis on authenticity extended to the cinematography as well. According to director of photography Jody Lee Lipes, “Kenny didn’t want the film to have a visual style that called attention to itself in any way. He wanted to tell the story in a matter-of-fact way without any distractions. It’s very straightforward with a normal aspect ratio, no extreme framing or overly thought-out shots. It’s just natural and frank storytelling. The writing and the acting are what’s important to him, so I just got out of the way.” The film was shot using the Arri Alexa digital camera. “Alexa is a great alternative to film,” says Lipes. “We used some older lenses to make it softer and more like film.” Making sure that Lonergan got exactly what he envisioned was Lipes’ first priority. “Kenny is a gifted artist with a demanding eye,” he says. “The challenge was always making sure he was able to fulfill his vision. My job was often to get what he needed in the fewest shots possible, without worrying too much about the technical aspects. Because he is also a playwright, he thinks about storytelling from a proscenium point of view. It’s like he imagines it all taking place on a stage.” Although not initially familiar with the region, Lonergan went to great lengths to recreate the flavor of New England’s coastal environs. “I hope we captured the real-life richness, depth and life in the film. The more specific you are, the more lifelike fiction is, and the more accurate you can be.” Lonergan’s purpose was never to provide a neat closure or easy resolution for Lee and Patrick. Some people, he says, find ways to live with real tragedy, but some people don’t. “I never know why I write about the things I end up writing about and this is no exception,” he says. “But my favorite part of filmmaking is that a story developed in the privacy of my own imagination becomes the emotional property of other people. The story is nurtured by your collaborators until it is finally passed along to an audience where — you hope — it becomes a part of their inner life.” Manchester by the Sea Production Notes SOUNDTRACK LISTING FROM THE IMDB Pifa (Pastoral Symphony) -The Messiah Composed by George Frideric Handel (uncredited) Performed by Musica Sacra Chorus and Orchestra (p) 2016 Milan Records Sonata for Oboe & Piano, 1st Movement Composed by George Frideric Handel Performed by Gerhard Kanzian & Ed Lewis (p) 2016 Milan Records He Shall Feed His Flock Like a Shepherd; Come Unto Him - The Messiah Composed by George Frideric Handel (uncredited) Performed by Musica Sacra Chorus and Orchestra (p) 2016 Milan Records Adagio Per Archi E Organo In Sol Minore Performed by London Philharmonic Orchestra (p) 2016 Milan Records I"m Beginning To See The Light Written by Duke Ellington, Don George, Johnny Hodges, and Harry James, and published in 1944. Performed by The Ink Spots and Ella Fitzgerald Chérubin Composed by Jules Massenet Performed by Münchner Rundfunkorchester and the Choir Chorus of the Bavarian State Opera (p) 2016 Milan Records Let the Good Times Roll Written by Shirley Goodman & Leonard Lee Performed by Shirley Goodman & Leonard Lee (as Shirley & Lee) Courtesy of Capitol Records Under License from Universal Music Enterprises Driving Wheel Written by Roosevelt Sykes Performed by Albert King Courtesy of Stax Records, by arrangement of Concord Music Group, Inc. Cartoon Cat and Mouse Written by Linda Martinez Courtesy of 5 Alarm Music 45 Revolutions Per Minute Written by Ryan Taylor Performed by Oil Boom Courtesy of Vu Music Adagio in G Minor Composed by Tomaso Albinoni & Remo Giazotto Courtesy of X5 Music I Gotta Run Written by Jordan Richardson Lyrics by Robert Karen Performed by Stentorian Lily, Rosemary and the Jack of Hearts Written & Performed by Bob Dylan Courtesy of Capitol Records By Arrangement with Sony Music Licensing Tell Me Why Written by Jordan Richardson Lyrics by Robert Karen Performed by Stentorian At My Front Door Written by Ewart Abner (as Ewart Abner, Jr.), Johnny Moore Performed by El Dorados Courtesy of Vee-Jay Records Used by Permission of Concord Music Group, Inc. Copyright © BMG Rights Management US, LLC. Oh, What a Beautiful Mornin" Courtesy of the Ray Charles Foundation Written by Oscar Hammerstein II (as Oscar Hammerstein) Composed by Richard Rodgers Performed by Ray Charles Manchester By The Sea Chorale (uncredited) Written by Lesley Barber

Shoah (2012 restoration in 2K by Why Not Productions)

Shoah. The first sequence. Simon Srebnik returns to Chelmno. Shoah / Shoah. FR © 1985 Les Films Aleph. PC: Les Films Aleph / Historia Films. Avec la participation du Ministère de la Culture. D+SC: Claude Lanzmann. Direction de la photographie : Dominique Chapuis, Jimmy Glasberg, William Lubchansky, assistés par Caroline Champetier de Ribes, Jean-Yves Escoffier, Slavek Olczyk, Andrès Silvart negative: 16 mm original release format: 35 mm scanned in 2012 in 4K restored and released in 2012 in 2K. S: Bernard Aubuy, Michel Vionnet (en Israël). Montage: Claude Lanzmann, Ziva Postec, assistés par Geneviève de Gouvion Saint-Cyr, Bénédicte Mallet, Yaël Perlov, Christine Simonot, Anna Ruiz. Montage son : Danielle Fillios, Anne-Marie L’hôte, Sabine Mamou, assistées par Catherine Sabba, Catherine Trouillet. Mixage: Bernard Aubouy. Research assistants: Corinna Coulmas, Irène Steinfeldt-Levi, Shalmi Bar Mor. Witnesses: Simon Srebnik (Chelmno / Israel), Mordechai Podchlebnik (Chelmno / Israel), Hanna Zaidel (Israel), Motke Zaidel (Vilnius / Israel), Itzhak Dugin (Vilnius / Israel), Jan Piwonski (Sobibor), Richard Glazar (Treblinka / Switzerland), Paula Biren (Auschwitz / Cincinnati), Mrs. Pietyra (Auschwitz), Mr. Filipowicz (Wlodawa), Mr. Falborski (Kolo), Abraham Bomba (Treblinka / Tel Aviv), Czeslaw Borowi (Treblinka), Treblinka villagers, Treblinka railroad workers, Henrik Gawkowski (Treblinka / Malkinia), Rudolf Vrba (Auschwitz / New York), Inge Deutschkron (Berlin / Israel), Franz Suchomel (Treblinka / BRD), Filip Müller (Auschwitz / Czechoslovakia), Joseph Oberhauser (Belzec / Munich), Alfred Spiess (prosecutor at the Treblinka trial in Frankfurt 1960), Raul Hilberg (historian, Burlington, Vermont), Franz Schalling (Chelmno / BRD), Martha Michelsohn (Chelmno / BRD), inhabitants of Grabow, Moshe Mordo (Auschwitz / Corfu), Armando Aaron (Corfu), Walter Stier (executive of Germany"s Eastern railway traffic during wartime / BRD), Ruth Elias (Auschwitz / Israel), Jan Karski (courier of the Polish government during wartime / professor in the USA), Franz Grassler (deputy commander of the Warsaw ghetto during wartime / BRD), Gertrude Schneider and her mother (Warsaw ghetto / New York), Itzhak Zuckermann, "Antek" (Warsaw ghetto / Israel), Simha Rottem, "Kajik" (Warsaw ghetto / Israel). Telecast in Finland: 17.8.1994 YLE TV2 (Dokumenttiprojekti). 153 min (I), 120 min (II), 146 min (III), 147 min (IV), total 566 min = 9 hours 26 min Digitally scanned in 4K and restored in 2K in 2012, supervised by Caroline Champetier, released by Why Not Productions, available with English subtitles. The DocPoint classic documentary of the year: the choice of Mrs. Iris Olsson, the artistic director of the DocPoint Festival. 2K DCP with English subtitles sampled at Cinema Orion (DocPoint), 28 Jan 2017. Why Not Productions: Numérisation et restauration (2012) "Le but principal était de respecter l’aspect de la copie 35 mm originale en utilisant les possibilités offertes par le scan numérique du négatif 16 mm original. L’ensemble du processus de numérisation et de restauration a été supervisé par Caroline Champetier, directrice de la photographie et assistante sur Shoah." "Après de nombreux tests nous avons choisi un scan en résolution 4K, bien que la définition 2K semblait initialement suffisante pour le négatif 16 mm. Les deux principales questions concernant cette numérisation étaient le grain de la pellicule 16 mm des années 1970 et le problème du rendu des couleurs. La difficulté était de conserver le grain comme tel, sans le transformer en bruit numérique ou le supprimer artificiellement. Le 4K permet de rentrer plus profondément « à l’intérieur » du grain. Il offre aussi une plus grande marge de manœuvre pour l’étalonnage et la restauration. La restauration est restée légère afin de conserver de la vie dans l’image numérique, une image propre qui n’efface pas le passage du temps. Elle a suivi un principe simple: mieux vaut un défaut original qu’un artefact digital." "Le mix mono original a été respecté, avec une légère correction de l’égalisation." "Restauration produite par Why Not Productions en 2012, avec le soutien de La Fondation pour la mémoire de la Shoah, du Centre National du Cinéma et de l’Image Animée et la participation de IFC et Criterion. Scan, restauration, et son: L’Immagine Ritrovata, Bologne; Etalonnage, finalisation: Eclair Group, France." "I will give them an everlasting name" – Isaiah 56:5 AA: As yesterday was the Holocaust Memorial Day, the timing is appropriate to screen Shoah this weekend. Selected by Iris Olsson, artistic director of the DocPoint festival, as the classic of the year, this is the first screening in Finland of the 2012 digital restoration by Why Not Productions of Shoah. There is capacity audience at Cinema Orion, a perfect space for this intimate epic. How to express something that exceeds the limits of human understanding? That is the problem faced by every artist who has tried to create an account of the Holocaust. Alain Resnais found a classic solution in Nuit et brouillard (1956), but Claude Lanzmann"s approach was more radical. There is no commentary, no soundtrack score music, nor a single historical clip in his 9½ hour Shoah. In Shoah we only meet the witnesses interviewed by Lanzmann for his film, and we are taken to the landscapes of the tragedy by Lanzmann in the present of the film"s production. A documentary film can achieve heights of tragedy. The theme of Shoah could not be more horrendous. Yet Shoah transcends it by the luminosity of its vision and the profound humanity of its witnesses. Shoah and Vertigo share a basic theme. Both are about death, a journey to the river of death. Lanzmann emphasizes the mythical connection by starting his film with Simon Srebnik returning to the river at the former concentration camp of Chelmno. The image immediately evokes ferryman Charon at the river of Styx. This digital restoration of 2012 has been performed with loving care. For digital, nature is the greatest stumbling block, and Shoah starts with haunting imagery of nature. The visual quality has been preserved with excellent taste and judgment with subtle and refined results. The warm humanity of the witnesses" faces, essential for the spiritual balance of this extraordinary film, has also been perfectly conveyed. OUR 1987 PROGRAM NOTE BASED ON THE FORUM DOSSIER AT THE 1986 BERLIN FILM FESTIVAL Shoah on merkillisimpiä elokuvia mitä on tehty. Siinä ei ole nopeasti vilkaisten mitään erikoista, mitään tavallisesta tv-dokumentista poikkeavaa – paitsi ehkä että se on niitäkin pelkistetympi ilmaisultaan. Näemme vain kasvoja ja maisemia, joita kamera seuraa herpaantumattoman intensiivisesti. Projektissa on kyseessä vuosisadan järkyttävimmän ja torjutuimman tapahtuman rekonstruoiminen eläväksi, kouriintuntuvaksi kokemukseksi: keskitysleireillä tapahtuneen juutalaisten joukkotuhon kuvaus. Luulemme tietävämme siitä jo kaiken tai liikaakin, mutta seurattuamme vähän matkaa Lanzmannin teosta tajuamme ettemme tiedä asiasta mitään. Claude Lanzmann (s. 1925) on filosofi, joka on toiminut Jean-Paul Sartren ja Simone de Beauvoirin työtoverina. Elokuvantekoa hän on lähestynyt historianfilosofisesti, kokemuksen pelastamisen, kadonneen ajan etsinnän, katastrofaalisen tapahtuman valaisemisen kannalta. Hänen kysymyksenasettelunsa on ollut harvinaisen haastava, hänen reflektionsa taso poikkeuksellinen: vertauskohtana tulee mieleen lähinnä Alain Resnais’n Yö ja usva. Tämä elokuvaan ulkopuolelta tullut tekijä on oivaltanut 12 vuotta kestäneen työnsä kuluessa syvällisesti välineen ominaislaadun: miten kasvoja, avaruutta, aikaa, liikkuvalla kameralla luotavaa psyykkistä tilaa voidaan hahmottaa hyvin vaikeiden kokemusten esittämiseksi Shoah tuo meille läheisiksi 20 nerokkaasti valittua historian todistajaa. Lanzmann tajusi, että natsit valitsivat kuoleman työntekijöiksi, samalla koko prosessin silminnäkijöiksi juutalaisia, joista osa pelastui hengissä. Näiden merkillisten, kuoleman virralta palanneiden ihmisten todistukset ovat elokuvan ydintä. Shoah on inhimillisesti koskettava elokuva ja samalla historian prosessia laajalti pohtimaan haastava teos. – Antti Alanen (1987) Ei ole yksinkertaista puhua Shoahista. Tähän elokuvaan kätkeytyy magiaa, eikä magiaa voi selittää. Sodan jälkeen tutustuimme lukemattomiin selontekoihin ghetoista ja tuhoamisleireistä; olimme järkyttyneitä. Kuitenkin nähdessämme nyt Claude Lanzmannin epätavallisen elokuvan voimme huomata, että emme tienneet yhtään mitään, kaikista tiedoistamme huolimatta kokemus jäi meille ulkokohtaiseksi. Nyt elämme sen ensimmäistä kertaa päässämme, sydämessämme, lihassamme. Se muuttuu meidän kokemukseksemme. Shoah, joka ei ole fiktiota eikä dokumenttia, onnistuu elävöittämään menneisyyttä äärimmäisen säästeliäin keinoin: paikkojen, äänien, kasvojen avulla. Claude Lanzmann saa paikat puhumaan suurella taidolla, hän herättää ne henkiin äänien avulla, ja kaikkien sanojen tuolla puolen hän ilmaisee kasvojen avulla sitä mitä puheella ei voi tuoda ilmi. Paikat. Yksi natsien suurista tavoitteista oli kaikkien jälkien hävittäminen, mutta muistoja he eivät ole täysin onnistuneet pyyhkimään pois, ja Claude Lanzmann on ymmärtänyt tuoda taas päivänvaloon nuorten metsien ja tuoreiden kasvien alle kätketyn hirvittävän todellisuuden. Tässä vihreässä niittymaisemassa oli kranaattikuopan kokoisia hautoja, joihin kuorma-autot purkivat matkalla kaasutetut juutalaiset. Tähän niin iloiseen jokeen karisteltiin poltettujen ruumiiden tuhka. Täällä ovat mietteliäät maalaistalot, joista puolalaiset talonpojat saattoivat kuulla, jopa nähdä, mitä leireillä tapahtui. Täällä ovat kylät kauniine vanhoine taloineen, joista koko juutalainen asujamisto karkotettiin. Claude Lanzmann näyttää meille Treblinkan, Auschwitzin ja Sobiborin asemat. Hän astuu tänään kasvillisuutta rehottaville lastauslaitureille, joilta sadattuhannet uhrit ajettiin kaasukammioihin. Minusta yksi tuskallisimmista kuvista on se, jossa nähdään kokonainen vuori matkalaukkuja, toiset vaatimattomia, toiset muita tyylikkäämpiä ja ylellisempiä, kaikki nimellä ja osoitteella varustettuja. Huolehtivaiset äidit ovat pakanneet mukaan maitojauhetta, talkkia ja jauhoja, toiset taas vaatteita, eväitä ja lääkkeitä. Eikä kukaan tarvinnut mitään niistä. Äänet. Ne ovat pitkin elokuvaa kaikki samaa: junien saapumista, vaunujen avaamista, ruumiiden putoile-mista niistä, janoa, lamauttavaa tietämättömyyttä ja pelkoa, riisuutumista, “desinfiointia” ja kaasukammioiden avaamista. Kuitenkaan meillä ei ole hetkeäkään tunnetta siitä, että jo sanottu toistuisi. Ensinnäkin äänien eri-laisen soinnun takia. Siellä on Franz Suchomelin, Treblinkan SS-Unterscharführerin kylmä, objektiivinen, aluksi miltei tunteeton ääni; hän antaa tarkimmat ja yksityiskohtaisimmat selvitykset kunkin lähetyksen tuhoamisesta. Siellä ovat eräiden puolalaisten huolestuneilta kuulostavat äänet: veturinkuljettajan, jonka saksalaiset pitivät työssään vodkan avulla mutta joka tuskin saattoi kestää janoisten lasten parkua; Sobiborin asemapäällikön, jonka läheiselle leirille äkkiä tullut hiljaisuus teki levottomaksi. Usein puolalaisten talonpoikien äänet kuulostavat kuitenkin välinpitämättömiltä tai jopa hiukan ilkeiltä. Ja viimein esillä ovat harvojen eloonjääneiden juutalaisten äänet. Pari kolme ponnistelee pysyäkseen rauhallisena. Monet pystyvät tuskin puhumaan; heidän äänensä pettää ja he purskahtavat kyyneliin. Heidän kertomustensa samankaltaisuus ei ole koskaan yksitoikkoista, päin vastoin. Elokuva tuo tahattomasti mieleen musikaalisen teeman, tai johtoaiheen rakenne kauhun huipennuksineen, pastoraalisine maisemineen, valituslauluineen ja motiiveiltaan neutraaleine kohtineen tuo taas mieleen musikaalisen komposition. Ja rytmin tälle kaikelle antaa leireille matkaavien junien lähes sietämätön kolina. Kasvot. Ne puhuvat usein paljon enemmän kuin sanat. Puolalaisten talonpoikien kasvot ilmaisevat sääliä. Useimmat vaikuttavat kuitenkin välinpitämättömiltä, ironisilta tai jopa vahingoniloisilta. Juutalaisten kasvonilmeet ovat sopusoinnussa heidän sanojensa kanssa. Merkillisimpiä ovat saksalaisten kasvot. Franz Suchomelin piirteet eivät kavalla minkäänlaista liikutusta aina siihen hetkeen saakka, jolloin hän ryhtyy virittämään laulua Treblinkalta: silloin hänen silmänsä kirkastuvat. Mutta muiden nolot, viekkaat kasvonilmeet ovat rangaistuksena heidän viattomuuden ja tietämättömyyden vakuutuksistaan, valheistaan. Yksi Claude Lanzmannin suurimmista ansioista onkin itse asiassa se, että hän kuvaa meille kansanmurhan uhrien näkökulmasta, mutta välittää sen myös “teknikoiden” näkökulman: he tekivät sen mahdolliseksi, mutta he kieltäytyvät kaikesta siihen liittyvästä vastuusta. Luonteenomaisin esimerkki on kuljetuksista vastannut vir-kamies. Hän selittää, että erikoisjunat olivat matkustajaryhmien käytössä huviretkiä tai lomamatkoja varten puolella hinnalla. Hän ei kiellä, että kuljetukset leireille järjestettiin myös erikoisjunilla. Hän väittää kuitenkin olleensa tietämätön siitä, että leirit merkitsivät varmaa kuolemaa. Hän ajatteli niiden olevan työleirejä, joilla heikoimmat kuolivat. Hänen nolo ilmeensä ja välttelevä katseensa ovat kuitenkin ristiriidassa tietämättömyyden vakuutuksen kanssa. Pian tämän jälkeen saamme kuulla historioitsija Hilbergiltä, että “toimitetut” juutalaiset rinnastettiin kuljetuksia järjestäneessä matkatoimistossa turisteihin, ts. he olivat virallisesti seuramatkalaisia, jotka tietämättään rahoittivat itse oman kuljetuksensa, sillä Gestapo maksoi ne rahoilla, jotka oli takavarikoitu heiltä itseltään. Claude Lanzmannin montaasi ei tottele mitään kronologista järjestystä, sillä se on poeettinen rakennelma – mikäli sanaa tällaisesta aiheesta voi ylipäänsä käyttää. Jokaisen katsojan tavoin sekoitan menneisyyttä nykyisyyteen. Olen todennut, että Shoahin ihailtavuus perustuu tähän yhteensulautumiseen. Lisään, että ennen tätä minun olisi ollut mahdoton kuvitella tällaista kauhun ja kauneuden liittoa. Tosin toinen ei verhoa toista; ei ole kyse estetisoinnista, vaan päin vastoin: tätä kauhun ja kauneuden yhteyttä valaisee niin taipumaton ankaruus ja kekseliäisyys, että tajuamme tarkastelevamme suurta teosta. Todellista mestariteosta. – Simone de Beauvoir (Le Monde 28.4.1985) Edited by AA in 1987 WIKIPÉDIA, L"ENCYCLOPÉDIE LIBRE Armando Aaron, président de la communauté juive de Corfou Abraham Bomba : survivant du camp de Treblinka Czeslaw Borowi : habitant de Treblinka Paula Biren : survivante du camp d’Auschwitz Inge Deutschkron : survivante des purges de Berlin Itzhak Dugin : survivant de Vilna Ruth Elias : déportée du camp de concentration de Theresienstadt, survivante du camp d’Auschwitz Monsieur Filipowicz : habitant de Wlodawa, près du camp de Sobibor Monsieur Falborski : habitant de Koło Henrik Gawkowski : habitant de Malkinia, près du camp de Treblinka Richard Glazar : survivant du camp de Treblinka Dr Frantz Graesler : adjoint allemand du docteur Heinz Auerswald, commissaire nazi du Ghetto de Varsovie Raul Hilberg : historien Jan Karski : courrier du gouvernement polonais en exil, témoin du Ghetto de Varsovie Mme Michelsohn : femme de l"instituteur nazi de Chełmno Filip Müller : survivant du camp d’Auschwitz Josef Oberhauser : officier nazi dans le camp d"extermination de Bełżec Madame Pietyra : habitante d"Auschwitz Jan Piwonski : aide-aiguilleur, gare du camp d"extermination de Sobibor Mordechaï Podchlebnik : survivant du camp d"extermination de Chełmno Simha Rottem : survivant du Ghetto de Varsovie Frantz Schalling : garde allemand au camp d"extermination de Chełmno Alfred Spiess : procureur général du procès de Treblinka (1960) Franz Suchomel : SS Unterscharführer, camp de Treblinka Walter Stier : membre du parti nazi, chef du bureau 33 de la « Reichsbahn » (chemins de fer du Reich) Simon Srebnik : survivant du camp d"extermination de Chełmno Rudolf Vrba : survivant du camp camp d’Auschwitz Motke Zaidl : survivant de Vilna Hanna Zaidl : fille de Motke Zaidl Itzhak Zuckermann : commandant en second de l"Organisation juive de combat Paysans et cheminots de Treblinka, villageois polonais de Chełmno, habitants de Grabow

WHY NOT FICHE 1985 – 9 h 30 mn – Couleur – documentaire – France Réalisation : Claude Lanzmann. Direction de la photographie : Dominique Chapuis, Jimmy Glasberg, William Lubchansky, assistés par Caroline Champetier de Ribes, Jean-Yves Escoffier, Slavek Olczyk, Andrès Silvart. Son : Bernard Aubuy, Michel Vionnet (en Israël). Montage : Claude Lanzmann, Ziva Postec, assistés par Geneviève de Gouvion Saint-Cyr, Bénédicte Mallet, Yaël Perlov, Christine Simonot, Anna Ruiz. Montage son : Danielle Fillios, Anne-Marie L’hôte, Sabine Mamou, assistées par Catherine Sabba, Catherine Trouillet. Mixage: Bernard Aubouy. Une coproduction Les Films Aleph et Historia Films, avec la participation du Ministère de la Culture Editeurs Why Not Productions : EDV 1316. Avec la participation du centre national de la cinématographie.

The British Museum (permanent exhibition) Highlights: The Holy Thorn Reliquary

The Holy Thorn Reliquary. 1400, Paris. The British Museum WB.67

The British Museum Collection online The Holy Thorn Reliquary Object type: reliquary term details, relic term details Museum number WB.67 Title (object): The Holy Thorn Reliquary Description Reliquary of gold, richly enamelled and set with rubies, pearls and sapphires. Architectural base in form of castellated fortress with a half-length angel sounding a trumpet occupying each turret, base also with arms of Jean, duc de Berry in rectangular panels of blue and red translucent enamel. The front is a depiction of the Resurrection of the Dead, a green-enamelled mound rising from the base from which coffins protrude, the dead rising from within. Above is a rock-crystal window, the Thorn placed vertically in the centre, mounted on a cabochon sapphire, above an inscribed scroll. Figures of the Virgin and St. John kneel beside the Thorn, Christ with his five wounds is seated behind it, his feet resting on a white-enamelled globe. Two angels hold a crown of thorns above his head, the instruments of the Passion in their other hands. An arch is formed around the whole by the twelve Apostles within a mass of leaves and branches, God the Father at the top. On the reverse are two hinged doors decorated in relief and pontillé with the figures of St. Michael and the Devil and St. Christopher carrying the Christ Child, inside these is an empty cavity covered in modern glass, probably a space for another relic. Above this is a roundel with the face of Christ in relief amidst sunrays. Marked. Culture/period Late Medieval term details Date 1400 (circa) Production place Made in: Paris (Europe, France,Ile-de-France (département),Paris) Materials thorn sapphire ruby rock crystal pearl gold term details enamel term details Technique stamped (19thC) term details repoussé relief pointillé glazed term details engraved term details enamelled term details cabochon cut term details burnished Dimensions Height: 30.5 centimetres Width: 15 centimetres (max) Width: 13 centimetres (across base) Depth: 7 centimetres Weight: 1404.65 grammes Inscriptions Inscription Type inscription Inscription Script Gothic Inscription Position scroll Inscription Language Latin Inscription Content Ista est una spinea corone Domini nostri ihesu xpisti Inscription Translation This is a thorn from the Crown of Our Lord Jesus Christ Inscription Comment Enamelled in black on gold label Inscription Type mark Inscription Position back Inscription Comment .Two of the Austrian control marks are Rosenberg no. 7879 and the third is no. 7886 (see M. Rosenberg, ‘Der Goldschmiede Markzeichen", 3rd edn, vol. IV, Berlin, 1928). Curator"s comments Text from Tait 1986: Provenance: Jean, duc de Berry (d.1416); the Treasury of the Emperor Charles V (reigned 1519-55) and subsequently in the Imperial Hapsburg Collection in Vienna (first surviving Austrian record appears in an Inventory of 1544); lent to an exhibition of Medieval and Renaissance Works of Art, held in Vienna under the auspices of the Vienna Alterthums-Verein in 1860; entered the collection of Baron Anselm von Rothschild (d. 1874) between 1872 and 1874 (cat. no. 607); by inheritance to his son Baron Ferdinand Rothschild (d. 1898). Commentary: When this great masterpiece reached the British Museum in 1899, its true identity had been completely lost. In Read 1902 it was described as “Spanish, late 16th century” and, because none of its former history was known to Read, there was no reference to the very similar object in the Imperial collections in Vienna. Twenty-five years later the researches of Joseph Destrée were published and, for the first time, it was recognised that there were two almost identical reliquaries and that the one preserved in the Geistliche Schatzkammer of the Hofburg, Vienna (the Ecclesiastical Treasury of the Imperial Hapsburg Court in Vienna), was a modern copy and that the original was in London - in the Waddesdon Bequest at the British Museum. Significantly, Joseph Destrée punctiliously acknowledged his debt to Professor H.J. Hermann in reaching this conclusion, and, moreover, there exists an earlier letter from Professor Hermann, dated 23 November 1923, which expresses the view that the Vienna version seems to be a forgery of about 1880. In those intervening twenty-five years several official Austrian publications had appeared, illustrating and discussing the version in the Geistliche Schatzkammer; from these publications it becomes clear that it still had not been realised in Austria that the item preserved in Vienna was only a modern copy. Indeed, the 1901 ‘Mittheilungen der K. K. Central Commission für Erforschung und Erhaltung der Kunst und Historischen Denkmale’ had misleadingly included two woodcuts illustrating the original - not the modern copy that was actually there in Vienna; presumably this error was unintentional and arose because these woodblocks had been made from old photographs of the original, taken before the modern substitute version had been made. The 1909 official ‘Guide’ to the Geistliche Schatzkammer and the revised second edition by Dr Dreger make no reference to the existence of the British Museum"s version, though Dr Dreger cautiously avoided a precise indication of date, preferring the phrase “in der art der späteren Gothik” (“in the later Gothic manner”) to describe the object in the Schatzkammer. In Destrée 1927 the purpose was to demonstrate that the Waddesdon Bequest Reliquary was not only the original but that it could be identified with an entry in the 1677 Inventory of the Vienna Hofburg Schatzkammer (folio 13 verso): “Ein Dorn von der Cron Christi in einen herrlichen Geheuss von goldt und Edelsteinen eingefasset, welches auf 3 Tonnen goldes geschaetzt wird.” (“A Thorn from Christ"s crown, mounted in a splendid tabernacle of gold and precious stones, valued at three ‘Tonnen’ of gold.”) This 1677 Inventory had been published in the ‘Jahrbuch der Kunsthistorischen Sammlungen des Allerhöchsten Kaiserhauses’, Vienna, 1899, xx, pt. ii, p. cxcvi. Curiously, in Dalton 1927 there is no reference to the 1677 Inventory, although Dalton had translated the article by Joseph Destrée for publication in vol. 79 of ‘The Connoisseur’ (1927) and was clearly willing to have Read"s Spanish Renaissance ("late 16th century") attribution radically changed to conform with Destrée"s opinion; Dalton"s entry reads: “German work in the French style, 14th-15th century. This reliquary is mentioned in the Inventory of the Schatzkammer at Vienna, 1731. In the 19th century, when it was sent to be restored, a copy was substituted for the original, and placed in the Schatzkammer.” In Destrée 1927 it was also confirmed, without quoting from any of the later Inventories, that this Reliquary of the Holy Thorn was to be found regularly recorded in the subsequent Inventories of 1730, 1758, 1780 and 1856. In fact, it is worth quoting in extenso the longer description given in the 1758 Inventory: “Ein ganz goldenes pacifical, obenauf Gott der Vatter samt zwei engeln, in der mitte inner den glas Gott der Sohn, auf einen regenbogen sizend, darbei ein heiliger dorn von der cron Christi, auf beiden seithen die 12 Aposteln nebst 4 engeln, an dem fues das Jüngste Gericht, alles schön geschmelzet und mit 12 schönen perlen und 15 gebohrt und ungeschnittenen rubinpalet und 1 saphir besezet.” (“A large gold Pacificale [or Pax], at the top God the Father between two angels, in the middle under the glass is God the Son, seated on a rainbow, with a Holy Thorn from the Crown of Christ, surrounded by the 12 Apostles along with 4 angels at the foot the Resurrection of the Dead, all beautifully enamelled and set with 12 beautiful pearls and 15 cabochon and uncut rubies and 1 sapphire.”) (See H. Zimerman, ‘Jahrbuch der Kunsthistorischen Sammlungen des Allerhöchsten Kaiserhauses’, Vienna, 1895, XVI, pt. ii, p. VII, no. 8: Inventar der Geistlichen Schatzkammer, 1758, Reg. no. 12623.) The compiler of this 1758 Inventory was careless and did not notice that the gemstone at the top of the joyau is a cabochon sapphire. There are, today, fourteen rubies and two sapphires on the Reliquary. Similarly, there are fourteen pearls - not the twelve recorded by the compiler of the 1758 Inventory. Perhaps two pearls had already been lost by 1758, and certainly there are now two pearls (one in the "glory" behind God the Father, the other below St John the Baptist) which seem to have neither their original gold "cradle" setting nor even the same quality of lustre. Proof that the Waddesdon Reliquary was the one regularly described in these Inventories from 1677 to 1856 is to be found in the exactly corresponding woodcut illustrations accompanying the descriptions in the above-mentioned ‘Mittheilungen’ of 1901. Furthermore, there is the printed description of this Reliquary in the 1860 Exhibition ‘Katalog’ (no. 70), which appears never to have been quoted in earlier discussions of this problem; it reads: “Reliquiarium aus Gold, mit Email und Edelsteinen geziert, 11½ in. hoch; sechzehntes Jahrundert. Eigenthum der geistlichen Schatzkammer der Hofburgcapelle. Prachtvolle Arbeit der Goldschmiedekunt in ihrer höchsten Blüthe. Unterhalb. der Mitteldarstellung au einem Bande die Aufschrift: Ista est una spinea corone domini nostri Jhesu Christi.” Alfred Darcel in 1863 described the location of this 1860 Exhibition in Vienna (in his publication ‘Les Arts Industries du Moyen Age en Allemagne: rapport addressé à son excellence le Ministre de l"instruction publique et des cultes, sur l"exposition archéologique de Vienne en 1860’). He stated that it was organised and mounted by the Archaeological Society of Vienna in a newly built complex that included La Bourse at one end; he went on to speak of “un passage la traverse à l"une de ses extrémités et c"est une des salles inoccupées, au second étage, que la Société des Antiquaires avait heureusement choisie pour étaler les richesses qui lui avait été confiées”. In his survey Darcel did not mention the Holy Thorn Reliquary, perhaps because he did not recognise it as a medieval object and was content to follow the 1860 ‘Katalog’ entry which had described it as "16th century". Two important facts about this Reliquary of the Holy Thorn have, therefore, been established by the entries in the Inventories (1677-1856) and by the 1860 ‘Katalog’ entry: firstly, neither the date nor the place of its manufacture was correctly understood and, secondly, the identity of its first owner had been so completely lost that the significance of the two heraldic enamelled plaques was not appreciated nor in any way recorded. When the two plaques were first recorded (in Schestag 1873/4, no. 607, with the date "um 1500", and again in Read 1902), they were briefly described, but there was no suggestion that they had any heraldic significance nor, indeed, was there any kind of comment. In Dalton 1927 the two enamelled plaques were not even mentioned in the description of the object, although Destrée (1907) and Falke (1908) had used them as evidence for their argument that the Reliquary had a French origin. Following upon the 1860 Exhibition, the Holy Thorn Reliquary was returned to the Geistliche Schatzkammer, which at that time was under the control of the Vienna Hofburgpfarramt (Court Parochial Office); this body had the responsibility of appointing a custodian of the collection, who was usually a priest. Whether the Holy Thorn Reliquary had been damaged at the Exhibition in 1860 or whether there was a general new policy for improving the appearance of the treasures seems uncertain, but undoubtedly the Holy Thorn Reliquary and at least four other early items from the Geistliche Schatzkammer were sent in the 1860s to the workshop of Salomon Weininger (1822-79) for restoration, and in each of these five cases a substitute copy was made to take the place of the original; the substitutes were all accepted as the genuine originals and were, of course, placed on display with the rest of the Geistliche Schatzkammer. Only one of the five became the subject of an enquiry shortly after Weininger"s death; it was the famous large Fatimid rock-crystal ring, mounted in a Gothic monstrance, purchased by the Germanisches Nationalmuseum, Nuremberg, in 1887. When the offer of sale was first made, the Nuremberg Museum authorities immediately recognised this spectacular object and notified the Vienna Court Obersthofmeister, but the Austrian response was to refuse that unique opportunity to buy it back. Their decision is perhaps more understandable than their unwillingness at the time to seek to regain possession of it through the law courts. The original is still in Nuremberg and the fake is still in Vienna. By 1887 the criminal activities of Salomon Weininger were already a thing of the past because his substitution of faked copies in place of the four genuine Renaissance bronzes he had been given to clean and restore from the Estensische Kunstsammlung in Vienna - two of the originals are in the Victoria and Albert Museum (Salting Bequest) - had led to his exposure, and in June 1876 he had been sentenced to five years" imprisonment. Indeed, he had died in the Austrian State Prison at Stein three years later (see L. Planiscig, ‘Die Estensische Kunstsammlung’, Vienna, 1919, nos 207-8; ‘idem, Andrea Riccio’, Vienna, 1927, p. 252; and H. Weihrauch, ‘Europaische Bronzestatuetten’, Munich, 1967, p. 490). Apart from the Fatimid rock-crystal and silver-gilt fake, revealed in 1887 by the Nuremberg Museum authorities, the four other Weininger substitutes remained undetected in the Geistliche Schatzkammer for more than half a century. However, any lingering doubts that may have remained after 1927 concerning the relationship between the Waddesdon Bequest Reliquary and the Weininger substitute in Vienna were finally dispelled in September 1944, when the modern copy was brought by members of the staff of the Kunsthistorisches Museum, Vienna, to the British Museum and compared with the original; members of the Department of Metalwork at the Victoria and Albert Museum were invited to attend this conclusive examination. Three years earlier an article by Dame Joan Evans in ‘The Burlington Magazine’ (1941) had sought to establish the heraldic significance of the two enamelled plaques set in the fortified walls of the gold base of the Reliquary. On the basis of misinformation from Mr Van der Put about the armorial bearings the article set out to relate this Reliquary with an item once owned by Louis, duc d"Orleans (1372-1407), the younger son of the French king, Charles V, and described in the Inventory of 1408, which was made at Blois after Louis" death (see F. M. Graves, ‘Deux Inventaires de la Maison d"Orléans’, Paris, 1926, p. 101, no. 366: “Ung tableau à mettre reliques de la mémoire de la Passion Notre Seigneur où sont esmaillez les XII Apostres, et dedans sont huit grosses perles, trois balaiz et trois saphirs”). Despite the obvious discrepancies, Joan Evans took the view that they were small and “cannot be allowed to invalidate the identification”, and, in her view, the Reliquary was made for the duc d"Orleans between 1388 and 1407. This identification was repeated, even more positively, in 1948 in her major book ‘Art in Medieval France’ (p. 207, fig. 197) and was accepted without demur by no less an authority than Erwin Panofsky in 1951. However, by 1954 Theodor Müller and Erich Steingräber had compiled their "Katalog" of French gold enamelled sculpture c. 1400 and decided that, because of the discrepancies, they could not accept this identification of the Reliquary with the Orleans Inventory of 1408 (no. 366), though they did proceed to establish most convincingly that the stylistic attribution to a Paris workshop c.1400 was correct (pp. 66-7). Curiously, they omitted to include in their description of the Reliquary any mention of the two heraldic plaques; furthermore, they incorrectly stated that in addition to the gold enamelled parts the Reliquary also comprised silver-gilt "framing parts" (“rahmende Teile Silber vergoldet”). Consequently, in the mid-1950s the two enamelled heraldic plaques still remained the major aspect of the Reliquary to be tackled. Having observed precisely the same coat of arms recurring in several of the famous illuminated manuscripts that were originally in the collection of Jean, duc de Berry, the author decided to consult the President of the Société Française d"Héraldique et de Sigillographie, who at that time was baron Meurgey de Tupigny, and, in a written reply, was told that these were, indeed, the arms of a prince of the House of Berry and should be read as follows: “d"azure semé de fleurs-de-lis d"or à la bordure engrêlée de gueules” (see Tait 1962, p. 226, fn. 2); this information was communicated to Peter Lasko and published in the same year (see Lasko 1962, p. 262, fn. 7), where it was pointed out that “unfortunately, none of the inventories of the Duc de Berry"s possessions, made in 1401, 1413 and in the year of his death in 1416 describes any piece identifiable as the Thorn Reliquary as we see it today, although a large number of objects are listed that were decorated with the arms of Berry”. Jean, duc de Berry (b. 1340-d. 1416), was the brother of the King of France, Charles V (reigned 1364-80), and uncle of Charles VI (reigned 1380-1422) and is well-known as a grand patron of the arts and an avid collector, whose impatience often led to the design of his commissions being altered before they were halffinished. Consequently, the total lack of an appropriate description in those three Inventories of the Berry collections does not necessarily have much significance, and in addition the scale of his princely gifts, especially of joyaux, was only equalled by his brothers and nephews, the Dukes of Burgundy and Anjou (see Meiss 1967, pp. 48-50). Although it is clear from the records that these royal dukes employed goldsmiths on the most lavish scale in the fifty years from 1360 to 1410, very few of their fine commissions have survived - indeed, many pieces were melted down within a few years of their completion. According to the ‘Commentarii’ of Lorenzo Ghiberti, of Florence, one of the finest goldsmiths was the Cologne master named Gusmin, but he was so bitter to find his major creations for his princely patrons north of the Alps being put into the melting-pot that he retired to a monastery and ceased to be a goldsmith. Before examining the duc de Berry"s Inventories in search of this Reliquary, it may be noted that the difficulties of the terminology have been much discussed (for a neatly summarised account see Panofsky 1951, p. 76). Apparently, in the later Middle Ages a bona fide reliquary could be listed as a ‘jocale’ or ‘joyau’ and, conversely, many a piece of jewellery might be referred to as a ‘reliquière’ or ‘reliquaire’ (see Erich Meyer, Reliquie und Reliquiar im Mittelalter, ‘Festschrift für Georg Heise zum 28 June, 1950’, Berlin, 1950, pp. 55 ff., and also J. Braun, ‘Die Reliquiare des christlichen Kultes und ihre Entwicklung’, Freiburg, 1940, pp. 70 ff., 286 ff., figs 269-88). Turning now to an interpretation of the written evidence contained in the Inventories of the duc de Berry"s collections, it is important to note how vast and difficult a task faced the compilers and how much the individual qualities of these men affected the value and usefulness of the descriptions. The earliest is the Inventory of 1401-3 (Bib. nat. fr. 11496; pub. J. Guiffrey, ‘Inventaires de Jean, duc de Berry (1401-14.16)’, 2 vols, Paris, 1894-6. N.B. The only Berry Inventory that Guiffrey published in full, however, is the Inventory of 1413-16 (Archives nationales K.K. 258). The first Inventory contains 1,317 items and was the work of two different men; begun by Guillaume de Ruilly, ‘garde de joyaux’, on 2 December 1401, the task commenced in the Château de Dourdan (near Paris) and continued in the duc de Berry"s principal residence, the Hôtel de Nesle in Paris. In May 1402 Ruilly was replaced by Robinet d"Etampes, who finished the Inventory by listing the items in the Château de Mehun-sur-Yèvre, in the Great Tower of the ducal Palace at Bourges and in the Chancellery of the Cathedral of Bourges. This Inventory was finished on 23 February 1403, but it also contains numerous notes dating from 1404 to 1407 recording the gifts made by Berry to the Sainte-Chapelle of the Palace of Bourges. Fortunately, Robinet was an exceptionally thorough and precise keeper of the ducal collections and remained with Jean de Berry, even being present when Jean signed his will in May 1416, shortly before his death. The fullness of Robinet"s descriptions and his practice of updating the lists with notes about new acquisitions, gifts and alterations give the Berry Inventories unrivalled value. Indeed, Robinet"s annotation to item 10 of the first Inventory of 1401-3 is an excellent example and is the place where the answer to the Waddesdon Bequest Reliquary"s precise date of manufacture may yet be found, as already fully discussed in a paper read to the Society of Antiquaries by the author on 9 April 1981, and, more briefly, restated in the author"s introductory survey of the Waddesdon Bequest (Tait 1981, pp. 19-23): “10. Item, une coronne d"or en manière d"une coronne d"Empereur, où il a quartre florons, et en chascun floron une espine de la coronne de Nostre Seigneur, garnie de perrerie, c"est assavoir: de douze gros balaiz et huit petis, dix-sept gros saphirs, huit petites esmeraudes, trente-six grosses perles et quarente autres perles moiennes; pesant tout ensemble quatourze mars et deux onces. Aurum dicte corone fuit magistro Martino Gouge, thesaurario, traditum, et lapides remanserunt erga Dominum, ut per compotum dicti Robineti constat. Postmodum Dominus dedit sue capelle Bitturicensi VIII parvas esmeraudes. Item, dedit dicto Robineto VI balaiz de numero dictorum VIII parvorum balaiz. Et residuum dictorum lapidum cum IIIIor aliis perlis fuerunt per Dominum traditum Renequino de Hallen, aurifabro, pro convertendo in uno jocali, ut constat per compotum dicti Robineti. Et de dictis spinis tres fuerunt date capelle palacii Bicturicensis; et quarta spina redditur per dictum compotum dicti Robineti in uno magno jocali auri.” Robinet"s helpful annotation records the fate of the duc de Berry"s richly bejewelled gold "Imperial" crown containing the four Thorns from Our Lord"s Crown of Thorns. It was broken up on the orders of the duc de Berry and the gold was delivered to his treasurer and the gemstones to Berry himself, who later gave eight emeralds to his Sainte-Chapelle at Bourges. Apart from six rubies, the remainder of the gemstones together with four other pearls were handed over to the goldsmith, named Renequino de Hallen, to convert into a jocali (“pro convertendo in uno jocali”). Nothing is known about this jocali, neither its design nor its subsequent fate. Today no single object survives that can be associated with the goldsmith named Renequino de Hallen. Consequently, he is just a name in an inventory and, tempting though it may be, there are no grounds whatsoever for asserting that he was the goldsmith who created the duc de Berry"s Reliquary that is now in the Waddesdon Bequest at the British Museum. Of the four Thorns three were given to the Sainte-Chapelle of the Palace of Bourges, while the fourth Thorn was set “in uno magno jocali auri” (“in a large gold jewel or reliquary”). There is every reason to accept that this last-mentioned jocali could be a reference to the Holy Thorn Reliquary, now in the Waddesdon Bequest at the British Museum, because not only has this Reliquary already been independently dated ‘c. 1400’ on purely stylistic grounds, but the phrase “uno magno jocali auri” would have been a wholly appropriate choice of words for Robinet to have used when describing this object. Furthermore, the fact that Jean de Berry had decided not to donate all four Thorns to his mortuary chapel suggests that he wanted to keep one relic for his own use and hence would have had his coat of arms incorporated into the design as he had done on so many of the precious objects in his collection. The gift of the other three Thorns to his new foundation, the Sainte-Chapelle adjoining his palace at Bourges, is most understandable because the latter was to stand comparison with the famous Sainte-Chapelle in Paris, which Louis IX (St Louis) had created in the 1240’s to house the Crown of Thorns and the large section of the True Cross, both of which had been acquired by the King from Constantinople where they had been kept in the chapel of the Byzantine Emperor"s palace. Consecrated on 25 April 1248, the Sainte-Chapelle in Paris had been built as part of the King"s palace on the Île-de-la-Cité, and Jean de Berry"s project was intended to copy it but on a larger scale. Finished in 1405, it was to be his great mortuary chapel - as splendid as the one his brother, the Duke of Burgundy, had created at Champmol in 1388. Consequently, it was richly endowed with his wonderful library, with a large section of his costly treasures and several outstanding relics of Christ, including the fragments of Nails from the Cross given him by Pope Clement VII in 1384 and, most importantly, the piece of the True Cross itself, given him in 1372 by his brother, Charles V, who had himself cut it from Louis IX"s precious acquisition from Constantinople - the pride of the Sainte-Chapelle in Paris. If that relic of the True Cross was getting smaller because of these royal incisions, so too the Crown of Thorns must have been losing many of its Thorns indeed, Jean de Berry alone had at least six Thorns, one of which Robinet records was subsequently given to the King of the Romans (see item 272 of the 1401-3 Inventory and its annotation, discussed by Lasko 1962, p. 263) and another to the Duke of York (see item 62 of the 1413-16 Inventory, published in Guiffrey 1896; “ung cristal creux, longuet et roont, garni d"or, ou quel a une des espines de la saincte coronne Nostre Seigneur, lesquels cristal et espine sont d"un grant joyau d"or fait de maconnerie en manière d"ung tabernacle”.) The Crown of Thorns and the dispersal of the various Thorns in individual reliquaries are discussed in J. E. A. Gosselin, ‘Notice historique sur la sainte Couronne d"espines’, Paris, 1828, and by Fernand de Mély, Reliques de Constantinople in the ‘Revue de I"Art Chrétien’, 1899-1900, and in P. E. D. Riant, ‘Exuviae Sacrae Constantinopolitanae’, vol. III, Geneva, 1904. The second of the duc de Berry"s Inventories comprised 1,251 items, and nos 1-1,099 were all inventoried by Robinet d"Etampes before 31 January 1413; the remainder were acquisitions of the last three difficult years (February 1413 - June 1416), and a careful distinction is made between purchases and those items that had been received as gifts by the duc de Berry. Consequently, the absence from these lists of any item that could be said to resemble the very distinctive Waddesdon Bequest Reliquary can only be interpreted as reliable evidence that the duc’s “quarta spina redditur ... in uno magno jocali auri” had already been given away, presumably as a present to the Duke of Burgundy or some foreign ruler or political ally, before 1413. In this way the Reliquary would have escaped the melting-pot that was to consume almost all of the duc de Berry"s gold and silver objects and so could have eventually entered the Hapsburg collections and been placed in their Court Chapel Treasury. The Geistliche Schatzkammer in Vienna does, indeed, contain a number of fifteenth-century courtly objects that had originally belonged to the Dukes of Burgundy and with the marriage in 1477 of the heiress, Mary, daughter of Charles the Bold, to the Archduke Maximilian (later Emperor Maximilian I) these Burgundian treasures were absorbed into the Hapsburg ‘schatzkammer’ without much documentation (for a fuller discussion of the Lovers Brooch see cat. no. 2, p. 50, where its lack of a firm connection with Mary of Burgundy (b. 1457 – d.1482) but its highly probable Burgundian origin, c. 1475, is commented upon). Despite the fierce rivalry between Jean de Berry and his brother, Philippe le Hardi (duc 1363 - d.1404), and his successor, Jean sans Peur (duc 1404 - d.1419), magnificent gifts of great virtuosity continued to be exchanged regularly between Berry and Burgundy and consequently this Reliquary most probably reached Vienna between 1477 and 1482 through the inheritance of Mary of Burgundy and her Hapsburg husband, Maximilian (d. 1519). Their son, Philip the Fair, had died in 1506, but their grandson and heir became the Emperor Charles V (reigned 1519-55) and in the Inventory of his Treasury, made in 1544, an item is listed that appears to correspond with the Holy Thorn Reliquary, although the description is short: “Ain gulden täffele, darinnen das jungst gericht gesmelzt, aussen herumb die Zwelfpotten, oben ain geschmelter Salvator, verseczt mit zwaien sophiern, dreizehn wallais (ballais) und funfzehen perlen, wigt 4 mark 12 lott.” (Published in the ‘Jahrbuch der Kunsthistorischen Sammlungen des Allerhöchsten Kaiserhauses’, Vienna, 1888, VII, reg. no. 4793, f. 63, p. xcix. The author owes this important reference to a personal communication in 1985 from Dr Renate Eikelman after the text of this volume had already gone to press and after the authorities in Vienna had confirmed that there was no record of the Reliquary in any Austrian inventory earlier than 1677.) Significantly, the description mentions two sapphires (both have survived), thirteen rubies (now fourteen, all of which seem to be original) and fifteen pearls (now only fourteen, two of which may be replacements); however, there is no obvious place where the extra ruby could have been set in place of the missing pearl, since the gemstones and pearls alternate and are arranged symmetrically to create a carefully balanced effect. It would seem, therefore, that the compiler of the 1544 Inventory had made a mistake and, although the combined total number of gemstones and pearls was correct, he had recorded one too many pearls and one too few rubies. His listing of the two sapphires, on the other hand, helps to confirm the error of the 1758 Inventory where only one sapphire is mentioned but where one too many rubies is said to decorate the Reliquary. In attempting to pinpoint more reliably the date when the Holy Thorn Reliquary was made, two possibilities must be considered: either it was both made and given away before the compilation of the first Berry Inventory (December 1401 - February 1403), or it was made around 1405, when the duc de Berry"s SainteChapelle in Bourges was completed. In the case of the latter alternative there would have been a pressing need - widely recognised in medieval France - to provide the Bourges Sainte-Chapelle with an adequate endowment of well-authenticated relics. The duc de Berry"s gift of three of the four Thorns would undoubtedly have helped most handsomely and, of course, his decision to have the fourth Thorn mounted in “uno magno jocali auri” without delay would have been equally in character. During the following five or six years before the second Inventory was begun, the Reliquary could have adorned the duc"s collection until he chose to make a present of it. Of these two possibilities the first is less restricted in date but the second seems perhaps more likely on the arguments of stylistic comparison and development. Fortunately, the Reliquary can be compared with four similar but far more securely dated works of art - all outstanding examples of enamelled gold sculpture (‘émail en ronde bosse’): (i) The St Michael and the Devil Group (before 1397), given to Charles VI, King of France, as a New Year"s gift in 1397 by Philippe le Hardi, Duke of Burgundy. In 1405 Charles VI had to give it to the Queen"s brother, Ludwig of Bavaria, in lieu of the year"s pension owing to him. In 1441 Ludwig presented it to his religious foundation at Ingolstadt, where it remained until 1801. It is now known only from the early detailed written descriptions and from the small eighteenthcentury painting of it (in the Bayerisches Nationalmuseum, Munich), made after the removal of many of its pearls and gemstones. (Full publication by Eva Kovačs, L"orfèvrerie parisienne et ses sources, ‘Revue de L’Art’, 28, 1975, pp. 28-30, fig. 9.) (ii) The Madonna of Toledo (before 1402), recorded in the first Inventory of the duc de Berry"s collection (item 362) among the treasures kept at the Château de Mehun-sur-Yèvre, which Robinet d"Etampes began listing in May 1402. According to Robinet"s annotation, it was given by Jean de Berry to the Queen of Navarre. The Cathedral of Toledo, where it is preserved, has only an ancient tradition - no documentary evidence - recording that it was a gift of Eleanor of Castille, wife of Charles III, King of Navarre. (Full publication by Kovačs 1975, p. 28, fig. 8.) (iii) The Calvary of Esztergom (before 1403), given by Marguerite de Flandre (1350-1405) to her husband, Philippe le Hardi, Duke of Burgundy, as a New Year"s gift in 1403 and recorded in the Inventory of 1404, made immediately following the death of Philippe le Hardi (see E. Dehaisnes, ‘Documents et Extraits divers concernant l’histoire de l"art dans la Flandre, l"Artois et le Hainaut avant le XV siècle, part 11, 1374 -1401’, Lille, 1886, p. 827; full publication by Kovačs 1975, pp. 25-8, figs 1-7). (iv) The Goldenes Rössel (before 1404), given by the Queen of France, Isabeau of Bavaria, to her husband, Charles VI, as a New Year"s gift in 1404. In July 1405 Charles VI pawned it to his brother-in-law, Ludwig of Bavaria (d. 1447); his heirs presented it in 1509 to the pilgrimage church of Altötting, near Munich, where it is still preserved (see full publication in Müller and Steingräber 1954, pp. 69-71). Of these four the earliest is of particular interest because in creating the group of St Michael and the Devil the goldsmith has decided to place the main figure group on an enamelled mound within a fortress - just as the scene of the Resurrection of the Dead is similarly represented on the Holy Thorn Reliquary in the Waddesdon Bequest. However, despite the obvious parallels, there are significant differences which may help to determine the dating of the Reliquary. Fortunately, the 1441 document recording the gift of this St Michael group to the convent at Ingolstadt provides a very detailed description, particularly noting each gemstone and pearl, and gives a valuable insight into contemporary terminology (quoted in full by Kovačs 1975, p. 29); for example, it establishes the meaning of “une terrace esmaillée” and “l’entablement”, phrases that crop up again and again in these French Inventories of the fourteenth and fifteenth centuries when listing secular as well as ecclesiastical plate. The relevant passage in the 1441 document reads: “Et sur les côtes de cette même image s"élèvent deux arbres en fleurs, deux rubis balais et trente-huit perles. Item l"image se tient sur une terrace où est une figure du diable ou du dragon et sur les deux côtes deux petits anges dont chacun tient un saphir, chaque saphir surmonté d"un troche de perles, et l"entablement consiste en une forteresse à creneaux.” Not only are the green-enamelled mounds, the steps leading up to the portals and the crenellated walls apparently very similar on both pieces, but the placing of little angels within the turrets of the fortress also corresponds exactly. Even tiny details such as the gold half-opened shutters, pushed open from the bottom, appear to be executed in the same manner. This very distinctive and exceptional detail can be found (repeated six times most meticulously) in the extraordinarily jewel-like miniature of the Lord over the Water by Giovannino dei Grassi in Gian Galeazzo Visconti"s prayer-book of c. 1395-8 (see Meiss 1967, p. 143, fig. 578), which was left unfinished in Milan on the Duke"s death in 1402 (Bib. Nazionale, Florence, Landau-Finaly 22, fol. 26). However, a major contrast lies in the overall proportions. The St Michael figure group seems disproportionately large in relation to the jocali as a whole, even though the crenellated walls of the fortress have been left solid and plain, thereby imparting a massive weighty quality to the lower part. The goldsmith of the Holy Thorn Reliquary, on the other hand, has given a light openness to the fortress at the base by introducing broad arches on either side of the portal and also at the rear. Furthermore, although he has followed tradition and depicted the heavenly apparition of the Last Judgement scene on a suitably larger scale, all these main figures seem to relate more successfully to those on Earth, both to the angels in the turrets and to the Resurrected Dead on the enamelled mound. The same problem evidently faced the goldsmith when he was designing the Madonna of Toledo jocali. This figure group which includes the folding chair and the lectern seems too large for the polygonal base with its five feet -plain rectangular cubes with enamelled cushions. Indeed, these strangely clumsy feet seem almost to have been added to the design in an attempt to offset the top-heavy effect of the composition. In the case of the Madonna of Toledo jocali the base and feet (the "entablement" of the Inventories) are made only of silver-gilt - not gold. This use of the less expensive material for the lower part of the jocali, where strength and stability were important, is an understandable economy, though gilding silver was, of course, a not inexpensive luxury too. The same economy was practised by the goldsmith who made the Goldenes Rössel at Altötting and, indeed, the original socle (now lost) of the Calvary of Esztergom is known to have been made of silvergilt. It is rare to find one of these joyaux with a base made of pure gold, but it would seem that both the St Michael jocali (formerly at Ingolstadt) and the duc de Berry"s Holy Thorn Reliquary (in the British Museum) are the exceptions. The proportions of the Esztergom Calvary and of the Goldenes Rössel were wholly successful, and, even though the former has lost its original base, the harmony of the relationship between the architectural elements and the figures is entirely satisfactory. The very pronounced pointed Gothic architectural forms and spiky details of the zone enclosing Christ at the Column are still manifestly in the tradition of the fourteenth century and can be readily compared with objects like the Three Towers Reliquary, c. 1375 (in Aachen Cathedral Treasury). However, there is a fundamental change in the upper zone with its open quality and with the hill of Calvary emerging above the pinnacles to create the illusion of a sublime, almost heavenly, scene to which mankind on Earth can aspire. The same quality of openness characterises the Goldenes Rössel where even the rounded forms of the arches (on the lower level) framing the dramatically sculptural group of the page holding the white horse of King Charles VI are no longer part of that oppressively obtrusive and confining pointed Gothic architecture. The openwork trellis of the floral bower, in which the Madonna and Child are placed on the upper zone of the Goldenes Rössel, may still retain the form of the Gothic pointed arch, but it is so muted and softened in its outline by a floral naturalism that almost nothing of the character of the fourteenth century remains. This new trend seems swiftly to transform the art of the French courts and so perhaps it is not necessary to postulate so precisely a date of “about 1410” (see Lasko 1962, p. 264) for the introduction of the semicircular-headed arch. Throughout the first decade of the fifteenth century these goldsmiths and the ateliers of these court artists working for Charles VI and the royal dukes were, undoubtedly, at their most precocious and inventive. There is not a single pointed arch to be found anywhere on the Holy Thorn Reliquary, even in the details of the crenellated walls of the "fortress" base. Exceptionally, even the general outline of the Reliquary does not remotely suggest the Gothic pointed arch, which may be said to linger on, albeit rather faintly, in the Goldenes Rössel; instead, a pure circle, formed by the "glory" around the figure of God the Father, rests on the head of the semicircular arch framing the Last Judgement scene. In fact, that frame is robustly broad and three-dimensional, as it would be in an architectural context. The surface of that frame (between the outer and the inner moulding) curves at first gently and then more steeply forwards; its concave, three-dimensional quality is enhanced by the application of free-standing, twisting branches and foliage interspersed with pearls and gem-stones. The most comparable architectural example to have survived in situ is the vast Coronation of the Virgin scene high above the archway on the outer wall of the Château de La Ferté-Milon, near Paris, which most fortunately can be dated with certainty between 1392 and 1407 (see Evans 1948, fig. 154, and Theodor Müller, ‘Sculpture in the Netherlands, Germany, France, and Spain, 1400-1500’, London, 1966, pp. 18-19, pl. 12A). The broad frame, concave with wide trelliswork of realistic leafwork, continues along the bottom - just as the frame does on the Reliquary - making a strikingly bold right-angle turn at the bottom on either side; the two sides pass, with a sophisticated illusionary trick, behind the extended projecting ledge of the figural scene and, at the top, curve in a gently rounded fashion to form a wide shallow arch. The spacious recess is given a further illusion of depth by the introduction of architectural features on the sides which curve inwards, but, as Theodor Müller expressed it, the splendid horizontal composition “is an example of painterly sculpture developed freely in space. Its antecedents are not any regional developments within the Île-de-France, but the Netherlandish sculptors, of whose services French feudalism, as we have seen, frequently made use”. On the Holy Thorn Reliquary, as in many of the contemporary illustrations of châteaux in the miniatures of the Berry manuscripts, the windows of the portal and of the crenellated walls are all square-headed and the door itself, far from having a pointed arch, has a flat top with a rather sophisticated reversed form of the rounded outline, because on either side at the top an arc - a quarter of a circle - curves inwards, like two spandrels. The portal has, unquestionably, the look of a fifteenth- rather than a fourteenth-century piece of architecture; even the triangular turret, placed angle-wise above the door, has two semicircular, round-headed arches terminating in mid-air. The same kind of curious architectural feature was introduced by the Limbourg brothers into their miniature showing the triangular Château de Poitiers, at the top of the month of July miniature in the ‘Très Riches Heures de Jean de Berry’, c. 1413-16, folio 7V (Musée Condé, Chantilly); attached to the corner on the left there is clearly shown in the miniature a comparable architectural feature, albeit on a larger scale (see Meiss 1967, plates vol., fig. 421). Equally subtle is the goldsmith"s use of a recess for the central scene. Just as the broad frame curves forward, so the recess (behind the rock-crystal "window") curves steeply inwards and then curves gently, almost parallel to the "picture" foreground. The illusion of deep space thus created beyond the "window" is enhanced by the shimmering surface of the burnished gold and the very low relief of the plain broad Cross behind the figure of Christ in Judgement. By placing the Twelve Apostles and the group of angels adoring God the Father outside the architectural frame, the goldsmith has again created an illusion of openness, almost of floating in space. This ethereal, heavenly quality is most marked when the eye perceives the gap between the trumpeting angels in the turrets of the sturdy fortress on Earth and the fluttering foliate "clouds" below the last of the Apostles on either side. In conclusion, most of the stylistic elements which can be observed when looking at the front of the Holy Thorn Reliquary would favour a dating c. 1405 and not the earlier dating before the first Berry Inventory of 1401-3. Unlike most of the other surviving examples in this group, the Holy Thorn Reliquary was intended to be seen and, perhaps, venerated from the other side. Even the closely related Reliquary of the Chapelle de l"Ordre du Saint-Esprit (Musée du Louvre, Paris), which has most recently been removed from its important position as the earliest extant joyau of this French group (c.1390) and been courageously re-attributed to a workshop in London c. 1410 (see Eva Kovačs, Le Reliquaire de l"ordre du Saint-Esprit, ‘La Revue du Louvre et des Musées de France’, October 1981, 4, pp. 246-51; also exhibition catalogue, ‘Les Fastes du Gothique: le siecle de Charles V’, Paris, 1981, pp. 269-71, no. 221), has only a flat solid back comprising seven rectangular panels decorated with engraved foliate ornament. The reverse of the Waddesdon Bequest Reliquary is unique in being designed with two large doors, hinged so that when swinging open they reveal a simple unadorned round-headed "window" set in a plain gold frame that originally contained either a relic, such as a fragment from the Sudarium (the Cloth of St Veronica with the Holy Face) or, perhaps an illuminated miniature or small devotional panel. The two gold doors are plain on the inside, but the exteriors are so richly decorated with consummate skill that they provide valuable evidence in favour of the later dating c. 1405-10. The St Michael and the Devil relief (on the left-hand door) is executed in the most fully developed "International Gothic" style, which has a strongly Italian flavour, reminiscent of the early Lorenzo Ghiberti bronze reliefs. The advanced style of this door seems to be a natural progression from the two reliefs on the spherical head of the sceptre of Charles V (Musée du Louvre), made before 1380 (see Danielle Gaborit-Chopin, La baton cantoral de la Sainte-Chapelle, ‘Bulletin Monumental’, 1975, pp. 67-81; also in the 1981 exhibition catalogue, ‘Les Fastes du Gothique: le siècle de Charles V’, p. 249, no. 202). The extraordinary character of these two hemispherical reliefs (perhaps once enamelled) is a precursor of the soft flowing style of the St Michael door on the Reliquary and, indeed, on the sceptre the figure of the angel thrusting the spear at a soul condemned to Hell (above the figure of the dead Charlemagne) makes an interesting comparison with the St Michael on the left-hand door and a striking contrast with the Ingolstadt joyau of St Michael and the Devil, which lacks all the sinuous, rhythmical elegance of this "International Gothic" style. Not only has the duc de Berry"s goldsmith skilfully depicted a twisting, almost contrapposto, movement in this figure of St Michael but he has employed a range of techniques with great virtuosity - from the very highest embossing in relief of the Archangel"s head and his upraised hand clutching the staff that is completely free of the background for most of its length, to the most subtle surface stippling in the feathering of the wings above St Michael"s head and the delicate minute flowers in the background. Perhaps the most comparable - if less fine - works of art to have survived are the documented rectangular, silver-gilt and engraved reliefs with scenes from the life of St Servatius, taken from the lower part of a reliquary bust of the Saint given to the Treasury of the Church of St Servatius in Maastricht in 1403 by Henry, Duke of Bavaria (now preserved in the Museum für Kunst und Gewerbe, Hamburg, inv. no. 1885, 1195; lent to the exhibition ‘Rhein und Maas: Kunst und Kultur 8001400’, Cologne, 1972, no. Q.14, where four of the scenes in relief are illustrated). By far the most striking similarities can be seen in the relief depicting the mitred figure of the Saint slaying the Dragon with his staff: the pose of the two principal figures (St Michael and St Servatius), the treatment of the draperies, the elegance of these "International Gothic" style compositions, and even the depiction of the two diminutive dragons are all closely related. One of the oblong reliefs of the legend of St Servatius showing a group of five figures kneeling in front of St Peter depicts the scene taking place within a fortress, and the crenellated walls encircling the composition are reminiscent of the Ingolstadt St Michael jocali; whilst the architectural background in the third relief - a scene of the procession carrying the châssereliquaire around the walls of a city - is noteworthy for its total lack of the Gothic pointed arch and for the very similar treatment of the crenellated walls, portals and turrets. In Theodor Müller"s opinion “they bear testimony to that story-telling quality which constitutes the enchantment of Netherlandish illuminated manuscripts from the beginning of the fifteenth century . . . The compositions have so complex a painterly movement that there seems to me to be no doubt of the origins of these silver reliefs in early fifteenth-century developments of painting” (Theodor Müller, Sculpture in the Netherlands, Germany, France and Spain, 1400-1500, London, 1966, p. 23, fig. 12B). The backgrounds of these reliefs are still patterned; where the miniaturist would have painted a blue sky, the goldsmith has a minute pattern of lozenges of close cross-hatching. The latter is perhaps not as delicate as the fine stippled floral motifs that cover the backgrounds of both doors on the Holy Thorn Reliquary and are particularly discernible above St Christopher. Furthermore, the superior way in which the duc de Berry"s goldsmith has attempted to render the rocky bank of the river and the waters of the swift flowing stream, with stippled grass and plants on the far side, is, indeed, part of this painterly naturalism in which miniaturists, like the Limbourg brothers, excelled and which was fostered by the patronage of Jean de Berry at the beginning of the fifteenth century. On both doors of the Holy Thorn Reliquary the goldsmith has attempted to add to the realism by causing the composition to break forward and overlap the picture frame or moulding. It is a trick that the goldsmith wisely uses in a most restrained fashion - just the head of the Dragon, the left elbows of both Saints but, most effectively, the clenched right hand of the heavily burdened St Christopher and the cross surmounting St Michael"s staff. This artistic device cannot be found on the silver reliefs from the Maastricht St Servatius Reliquary of 1403 but it does begin to occur in some French illuminated manuscripts that can be dated c. 1405-10; for example, the Annunciation miniature in the Leningrad Book of Hours by the miniaturist known as Pseudo-Jacquemart (Leningrad, State Library, MS. Q.V. 1. 8; illustrated and discussed in Meiss 1967, pp. 263-5, fig. 255). Pseudo-Jacquemart worked mainly for Jean, duc de Berry, from c. 1380 to c. 1412, during which time he contributed to the illumination of the ‘Petites Heures’, the ‘Psalter’ and, towards 1405-10, the ‘Grandes Heures’ (see ‘Les Fastes du Gothique: le siècle de Charles V’, Paris, 1981, no. 298, illus. p. 345, for a particularly effective use of this pictorial trick) and the Bourges Evangeliary. In the Leningrad Annunciation miniature the elegant standing Virgin holds a book in her left hand that breaks forward across the picture frame, while the Angel kneels with trailing drapery and extends his right leg over the picture frame (lower left corner). Another of Pseudo-Jacquemart"s miniatures in the Leningrad Book of Hours depicts the Enthroned Madonna and Writing Child (Meiss 1967, pp. 264-5, fig. 256), and the halo of the Child is in the form of rays - not the usual disc or "moon" - and, as Meiss points out, this new form of halo “began to be popular in French painting around the turn of the century”. It is the new form that has been used by the goldsmith for the Christ Child on the St Christopher door of the Holy Thorn Reliquary, though the goldsmith has employed the most delicate of stippling techniques to create a subtle variation of intensity that is truly painterly in its conception. The goldsmith"s desire to emulate the intricate refinements of the contemporary miniature painters employed at the court of Jean, duc de Berry, in the first decade of the fifteenth century is even more brilliantly demonstrated by his use of the technique of stippling to re-create the effect of rich brocades with floral patterns, visible between the folds of the cloaks worn by the two Saints. Although some of these stippled "sunflowers" are now rather faint from rubbing, it is clear that these brocade patterns were originally as exquisitely detailed as the stippled feathers covering the chest, arms and legs of St Michael. This latter feature is most exceptional and may, perhaps, derive from the costumes worn in religious plays, for it is interesting to note where it ends, so that the feet, hands, neck and face of the St Michael figure are carefully left plain. With the two doors of the Reliquary closed to form a simple round-headed arch, the goldsmith"s original use of enamelled colour on the reliefs would have played a major role in the compositional relationship of the two figures. The total loss of the enamel from the two doors is most regrettable and, indeed, its damaged condition may have been one of the reasons why the Reliquary was sent to Weininger"s workshop in Vienna in the 1860s. It is, of course, virtually impossible to repair damaged enamel successfully; usually it is necessary to remove the remains of the old original enamel completely and start de novo with an entirely new application. The technical reason is simple: when new enamel is applied and put into the fire, the old enamel (if left) will be ruined; furthermore, the new enamel will not fire successfully unless the surface is perfectly clean and free of dust and dirt. It is probable that Weininger saw the remains of the original enamelling on the doors of the Reliquary because his substitute version is enamelled. The fact that his enamelled decoration offends our eyes because of its crudity is irrelevant; his job was evidently to tidy up the damaged areas and return the objects looking clean and undamaged. Weininger certainly would not have given himself all the extra work of enamelling the doors if the original Reliquary had not been enamelled in the first place. He could apparently rely on the faulty memories of the custodian of the Geistliche Schatzkammer, and so he applied opaque white enamel on St Michael"s legs and arms, which, of course, the original version did not have. The finely stippled feathers of St Michael"s limbs would have been lost under the opaque white enamel. However, they may have been covered by a translucent enamel through which the stippled feathers would have glinted as they reflected the light. Similarly, the stippled brocade patterns would have been extremely effective when discerned within the deep colour of the translucent enamel of the cloaks. Equally the rippling water of the river and rocky foreground would have had a greater sense of realism and spatial depth when coloured in contrasting enamels, whilst the rough scoring of the surface of the Dragon and the foreground beneath is clearly intended to secure the application of strongly coloured enamels. Perhaps the evidence of the Weininger substitute version can be regarded as a reliable indication that the shield of St Michael with its stippled ornament was not originally enamelled and, secondly, that the stippled effect over the gold background was a vastly more prominent feature of the original than it is today. Nowadays it is difficult, even with special lighting, to see the stippled decoration but, although Weininger failed to copy it faithfully - even completely omitting the wings of St Michael, the Christ Child"s halo and all the floral motifs - nevertheless, he knew that this stippled background effect was essential for the character of the Reliquary. The subconsciously tidy mind of Weininger, the feeble copyist/faker, was irrepressible, and so St Michael"s staff no longer breaks out over the picture frame in that illusionistic trick so successfully employed by the duc de Berry"s atelier of craftsmen and artists. Similarly, Weininger, who could not understand what had been intended originally in the centre of the fortress (on the reverse), altered the two corner turrets, flattened the crenellated wall into a straight line leaving the semicircular recess (in the centre) but with no "floor" to the recess and no descending curves for the arches on either side (immediately below the recess). Finally, Weininger simplified the reverse of the "glory" surrounding God the Father. On the original this roundel at the apex is most successfully used to incorporate ‘l’image de la Véronique’ (to quote the term used by Robinet d"Etampes in compiling the Berry Inventories). It is the Holy Face of Christ of the Sudarium, with that exhausted but tranquil expression of resignation and suffering. The same face seems to occur in a number of Jean de Berry"s illuminated manuscripts and in one beautiful silver-point drawing attributed to Jacquemart (Meiss 1967, p. 330, fig. 282, which is part of a pattern book of c. 1400 in the Pierpont Morgan Library, New York, M. 346). The curious use of this ‘image de la Véronique’ in the context of a joyau of the Last Judgement scene, which also has a prominent reference to St Michael and St Christopher (on the reverse) is difficult to explain, unless, indeed, the two doors are intended to protect the relic from the fading effect of the light. A fragment of the Sudarium would undoubtedly need such protection, and an appropriate gold relief above the doors would be iconographically and artistically a most acceptable visual statement. The very same kind of arrangement can be seen on one other piece in this group of" ‘Französische Goldemailplastik um 1400’, as Theodor Müller and Erich Steingräber called it in 1954: it is the Triptych Altarpiece Reliquary in the Rijksmuseum, Amsterdam; Although quite pocket-sized (H. 12.7 cm, w. 6.8 cm closed, w. 12.5 cm open), this reliquary is a little masterpiece of the same genre as the Holy Thorn Reliquary but was probably made some years earlier. It combines, on a smaller scale, most of the same techniques: the ‘émail en ronde bosse’ figure group of the Angel supporting the half-length Man of Sorrows (in the centre); the ‘émail translucide en basse-taille’ of the Virgin and St John (inner wings); the enamelled and stippled figures of St Catherine and John the Baptist reserved in the gold against an enamelled background (on the outer wings); the modelling of gold miniature sculpture in the round and in high relief (above); and, finally, the technique of stippled decoration depicting the Dormition and Assumption of the Virgin (on the reverse) - perhaps the most accomplished pictorial achievement in this technique. It ranges from the delicate foliate scrolls on the reverse of the screen behind the Coronation of the Virgin group to the beautifully floating movements of the angels carrying the Virgin up to Heaven. In the centre of this scene, however, is a tiny rectangular panel, behind which the relic would have been placed. The relic has long since disappeared and no record of it is known, but it was probably a fragment of the Sudarium because, once again, the ‘image de la Véronique’ is prominently stippled on the panel. The intrusion of this subject into the centre of the scene relating the story of the Dormition, Assumption and (on the front) Coronation of the Virgin makes no sense, unless it is intended to indicate the nature of the relic preserved in the tiny compartment behind the panel. Unfortunately, nothing is known of that relic or, indeed, of the earlier history of this Triptych Altarpiece Reliquary prior to 1912, when it was first described (see Otto von Falke, ‘Sammlungen Eugen Gutmann’, Berlin, 1912, no. 6), but it now seems probable on stylistic and technical criteria that it originated in the workshop of a Parisian goldsmith in the decades preceding 1400 - rather than in the period ‘um 1400-1410’ that had been previously suggested (Müller and Steingräber 1954, p. 72, no. 11). As one of the earliest of this group, this little triptych joyau is most important, especially as it offers sound evidence of the Parisian goldsmiths" practice of combining on one object several fine techniques and visual effects, albeit on different parts of the object. As a result, it helps to confirm the view that both the front and back of the Waddesdon Bequest Holy Thorn Reliquary were made at the same time, c. 1405-10. At first glance, the treatment of the reverse of the Holy Thorn Reliquary might seem so different from the front that the possibility of a slightly later adaptation to the original design had to be considered, but this purely conjectural hypothesis no longer seems necessary or justified. The Reliquary had, apparently, already left the duc de Berry"s collection before the compilation of the second Inventory of 1413-16 and, as has been shown, the stylistic innovations of the front are no less avant-garde than those of the back of the Reliquary, and both would be consistent with the pattern of rapid changes in art that were taking place at the French courts, especially under the patronage of Jean, duc de Berry, during the first fifteen years of the fifteenth century. [Please note that in his 2010 book on the Reliquary, John Cherry suggests a much earlier date than Tait, to before 1397 based on the form of the arms in the base. This dating fits the style of the whole Reliquary better than Tait"s. Cherry believes the Reliquary was likely to have been given away shortly after it was made which explains why it is not listed in the 1401-3 inventory, and also ensured its survival, as Jean"s treasures would have been melted down with all other gold treasures in Paris in 1417 by the victorious English shortly afer his death. It then perhaps became a Burgundian treasure and found its way to Vienna with other treasures upon the marriage of Mary of Burgundy to ArchDuke Maximilian in 1477 (later Holy Roman Emperor).] Bibliography: ‘Katalog der von dem Wiener Alterthums-Verein veranstalteten Ausstellung von Kunst-gegenständen aus dem Mittelalter und der Renaissance, eröffnet am 16. November, 1860’, Zweite Auflage, Vienna, 1860, no. 70 (describes briefly the original); Schestag 1872 (Franz Schestag , ‘Katalog der Kuntsammlung des Freihern Anselm von Rothschild in Wein’, zweitzer theil, Vienna, 1872) does not include it but there is a very rare printed Supplement entitled ‘Anhang’, and no. 607 gives a fairly detailed description (published with the ten other new acquisitions presumably in 1873-4); ‘Mittheilungen der K.K. Central Commission für Erforschung und Erhaltung der Kunst und Historischen Denkmale’, XXVII, Vienna, 1901, where the two woodcut illustrations show the original not the Weininger substitute; Charles Hercules Read, ‘The Waddesdon Bequest: Catalogue of the Works of Art bequeathed to the British Museum by Baron Ferdinand Rothschild, M.P., 1898’, London, 1902, no. 67, pl. XVI, illustrates the original; Joseph Destrée in ‘Les Musées et les Monuments de France’, Paris, 1907, p. 84; Otto von Falke in A. Michel, ‘Histoire de l"Art’, vol. III, pt. 2, Paris, 1908, p. 870; A Schnerich, ‘Guide du Trésor ecclésiastique de la Maison Impériale à la Hofburg à Vienne’, 1909, illustrates the Weininger substitute but describes it as if it were the original, and this illustration was again used in a book review of Schnerich"s ‘Guide’ which was published in ‘Revue de l’art Chrétien’, 1911, p. 72; M. Dreger"s second edition of Schnerich"s ‘Guide’ remains non-committal about the date of the version in Vienna; M. Frankenburger, Zur Geschichte des Ingolstädter und Landshuter Herzogschatzes und des Stiftes Allötting, in ‘Repert. für Kunstwiss.’, XLIV, 1923, p. 43; Joseph Destrée, The Reliquary of the Holy Thorn in the Waddesdon Bequest at the British Museum (trans. O. M. Dalton), ‘The Connoisseur’, LXXIX, 1927, pp. 138-43, illustrating both the original and the Weininger substitute, figs I-IV ; O.M. Dalton, ‘The Waddesdon Bequest’, 2nd edn (rev), British Museum, London, 1927, no. 67, pl. IX; A. Weixlgärtner, ‘Fuhrer durch die Geistliche Schatzkammer’, Vienna, 1929, p. 8; W. Burger, ‘Abendländische Schmelzarbeiten’, Berlin, 1930, p. 151; exhibition catalogue, ‘Gefälsche Kunstwerke’, Vienna, 1937, p. 5, no. 2; Leporini, Gefälsche Kunstwerke, ‘Pantheon’, XX, 1937, p. 352 ; Joan Evans, The Duke of Orleans" Reliquary of the Holy Thorn, ‘The Burlington Magazine’, LXXXVIII, 1941, pp. 196-201; Otto Kurz, ‘Fakes’, London, 1948, p. 218, pls 69-70; Joan Evans, ‘Art in Medieval France’, London, New York, Toronto, 1948, p. 207, fig. 197; Erwin Panofsky, A Parisian Goldsmith"s Model of the Early Fifteenth Century?, ‘Beiträge für Georg Swarzenski’, Berlin, 1951, p. 80, fig. 7; Theodor Müller and Erich Steingräber, Die Französische Goldemailplastik Um 1400, ‘Münchner Jahrbuch der bildenden Kunst’, v, N.F. 1954, pp. 29 ff., no. 3; Hugh Tait, Historiated Tudor Jewellery, ‘Antiquaries Journal’, XLII, 1962, p. 226 ff., a printed version of the paper read to the Society of Antiquaries in 1957; Peter Lasko, The Thorn Reliquary, ‘Apollo’, LXXVII, 1962, pp. 259-64, pl. III, figs 5-6; M. Meiss, ‘French Painting in the time of Jean de Berry, the late fourteenth century, and the patronage of the duke’, London and New York, 2 vols, 1967, p. 51, figs 571, 842; J. F. Hayward, Salomon Weininger, ‘The Connoisseur’, 187, 1974, pp. 170ff.; R. W. Lightbown, ‘Secular Goldsmiths" Work in Medieval France: A History’ (Reports of the Research Committee of the Society of Antiquaries of London, XXXVI, 1978, p. 66; Hugh Tait, ‘The Waddesdon Bequest: The Legacy of Baron Ferdinand Rothschild to the British Museum’, London, 1981, pp. 19-23, col. pl. 11, figs 7-10; Hugh Tait, "Catalogue of the Waddesdon Bequest in the British Museum. 1., The Jewels", British Museum, London, 1986, no. 1, pls. I-Va, figs. 8-15; Renate Eikelmann,"Goldemail um 1400", in Reinhold Baumstark (ed.), "Das Goldene Roessl : Ein Meisterwerk der Pariser Hofkunst um 1400", Bayerisches Nationalmuseum, Munich, 1995, p.118, fig. 58; Éva Kovács, L"âge D"or De L"Orfèvrerie Parisienne : Au Temps Des Princes De Valois, Editions Faton, Dijon, 2004, no.3; Elizabeth Taburet-Delahaye & François Avril, "Paris 1400 : Les Arts Sous Charles VI", Fayard, 2008, p.166, fig.42; Christie"s London, "Works of Art from the Bute Collection, Wednesday 3rd July 1996, lot. 63; James Robinson, "Masterpieces of Medieval Art", British Museum, London, 2008, p.87; John Cherry, "The Holy Thorn Reliquary", British Museum, London, 2010; Bagnoli, Klein, Mann & Robinson, "Treasures of Heaven : Saints, Relics and Devotion in Medieval Europe", British Museum, London, 2010, pp.94-95; Neil MacGregor, "A History of the World in 100 Objects", British Museum, London, 2010, no.66; Dora Thornton, "A Rothschild Renaissance: Treasures from the Waddesdon Bequest", British Museum, London, 2015, pp.74-87. Tait 1986 Losses: (i) The Dove of the Holy Spirit: the third person of the Trinity should, in the iconography of this type of Last Judgement scene, be represented, and it would seem likely that the lozenge-shaped hole that no longer serves any purpose on the architectural corbel immediately below the half-length figure of God the Father (at the apex) was originally intended to secure the gold enamelled Dove of the Holy Ghost. In that position the Dove would have been seen mid-way between God the Father and Christ in Judgement in the customary fashion, probably with outstretched wings. (ii) The original contents of the compartment behind the gold doors of St Michael and St Christopher (on the reverse): there is no record of what this compartment was intended to contain but it is suggested below that there may have been a holy relic, perhaps a fragment of the ‘Sudarium’. At present, when the doors are opened by withdrawing the gold pin, a round-headed modern glass "window" set in a plain gold frame is revealed but behind it there is only a slightly stained and torn piece of vellum and a backing of modern white plaster that fills the entire area; only the two gold prongs (in the centre, at the top and bottom) remain as evidence of an earlier method of securing the contents of this compartment. (iii) The central element of the gold crenellated fortress (at the base) on the reverse: the present condition of this area indicates that originally the two round-headed arches of the fortress would have continued to curve downwards towards the centre but the gold has been roughly shorn off. Similarly, the gold sheet forming a base to the little semicircular recess in the centre of the upper part of the crenellated wall has been crudely cut off, once again leaving a jagged edge. The small remaining part of the "floor", or base, of that semicircular recess is pierced by a small round hole, which may be original though its purpose remains conjectural. This central architectural element in the crenellated fortress may have reached down to the ground and may therefore have corresponded with the portal on the front. Such a feature would have given an added stability to the Reliquary, but it is clear that, for whatever reason, this feature had already been roughly cut away and removed from the Reliquary before the 1860s when Weininger was making his copy. His substitute version in Vienna does not offer an explanation of these tantalisingly inconclusive remains; Weininger"s solution was to ignore them and produce a simplified and tidy version. Repairs: (i) The God the Father group: the half-length figure (at the apex) has suffered the loss of some white enamel on the face and, probably, the replacement or repair of the crown, the orb and the sceptre; the two adoring angels (immediately below God the Father) have also lost some white enamel and their wings have been replaced; the bottom left-hand pearl (on the circular "glory") is a replacement in a later gold "cradle" setting. (ii) The Twelve Apostles: these half-length figures with their symbols were particularly vulnerable, and on the left side there is considerable evidence of damage and repair. For example, the figure of the third Apostle (from the top), St John the Divine, with chalice and serpent in his left hand, is in its original form but all the enamel is badly cracked and damaged. In contrast, the heads of the two Apostles immediately above the St John figure are apparently completely new; these modern replacements closely resemble those on the Weininger substitute version in Vienna. The emblem carried by the Apostle on the left, second from the top, also appears to be modern, and the Apostle immediately beneath St John the Divine holds a modern sword and his right-hand has been virtually lost. The hands of the Twelve Apostles are each made separately, enamelled in white, and then inserted into the gold sleeve of the arm; however, on one of the twelve figures (on the right side, the third Apostle from the top) the right hand was loose and while it was completely removed during conservation, the open end of the sleeve became more clearly visible; the hand has been reattached. Although the neck of that particular Apostle had been damaged, the head apparently was not replaced. The gold emblem carried by the penultimate Apostle on the left-hand side appears to be the remains of a St Andrew"s cross, but one arm of the cross has been broken off whilst another arm is bent upwards. On the right side St Peter (at the top) is noticeably tilting to the right, and consequently his raised hand is now in St James"s right eye (just below), whilst the last Apostle (at the bottom right) is damaged along the outer shoulder and arm, both of which have been carelessly repaired. Even the broad frame shows a few signs of repair: the two pearls (top left) have evidently been re-attached with gold patches applied to the curving surface of the frame, and some of the surrounding foliate elements seem to have been lost; the pearl near the bottom right (beneath St John the Baptist) appears to be a later replacement in a modern version of the gold "cradle" setting. (iii) The central scene of the Second Coming: although perfectly preserved because of the protective rock-crystal "window", it should be noticed that the gold sheet forming the back of the recess has been pierced by two small round holes (between the kneeling St John the Baptist and the Cross in relief); furthermore, there is an irregular tear or gash in the gold background in the corresponding place on the other side of the Cross (above the right hand of the kneeling Virgin Mary). Because of the perfect condition of the figures surrounding the Christ in Judgement, it must be deduced that this damage was inflicted from the rear; indeed, it is significant that the backing of modern white plaster can now be seen through the two little holes and the tear in the gold. It may be assumed that the plaster was inserted to strengthen and support the recess when the relic in the compartment behind the doors (on the reverse) was removed, leaving these two tiny damaged areas on the background to the Second Coming scene more exposed. (iv) The Resurrection of the Dead: the green mound has been damaged at the point where it narrows and becomes a "stem" supporting the Heavenly scene above; the narrow area is partly hidden on the front below the inscribed scroll, but a study of the back and, even more so, an inspection of the interior reveal both considerable damage to the enamel on the exterior and the vital strengthening of the "stem" by filling in the interior at the narrowest section. The four trumpeting half-length angels in the turrets are now held in place with a crudely attached rivet driven through the wall of each turret just below the crenellation; originally they were each attached to a short tubular fitting suspended out of sight within the turret itself - one still survives next to the main portal of the fortress. The enamel on these angels has survived in a remarkably good state, except at the wrists and on the shoulders where the trumpets and the wings have been detached and re-joined or straightened.Further replica almost certainly acquired by John Patrick, 3rd Marquess of Bute (1847-1900) and sold as part of the sale of Works of Art from the Bute Collection by the Order of the Executors and The Trustees of the Residue Funds of the 6th Marquess of Bute, Christie"s 3rd July 1996 (lot 63), Less Bibliography Cherry 2010 bibliographic details Tait 1986 1 bibliographic details Bagnoli, Klein, Mann & Robinson 2011 54 bibliographic details MacGregor 2010 66 bibliographic details Read 1902 67 bibliographic details Dalton 1927 67 bibliographic details Thornton 2015 pp.74-87 bibliographic details Location On display: G2a/dc4 Exhibition history Exhibited: 2011 23 June-9 Oct, London, BM, "Treasures of Heaven" 2010-2011, London, BM/BBC, "A History of the World in 100 Objects" Condition Very well preserved but with some losses and a few areas of damage, some of which were restored in Vienna between 1860 and 1872 in the workshop of Salomon Weininger (b.1822-d.1879). Originally the doors of the Reliquary were enamelled, which may explain why it was sent to Weininger for repair in 1860: his copy has enamelled doors. Missing area beneath the semicircular recess on the base . See Tait 1986 for full description of losses and interventions. Subjects saint/martyr term details last judgement (?) instruments of christ"s passion angel Associated names Made for: Jean, Duc de Berry (his arms as used before 1397 are mounted on the base) biography Named in inscription & portrayed: Jesus Christ biography Representation of: St Matthias biography Representation of: St Christopher biography Representation of: St Bartholomew biography Representation of: St Andrew biography Representation of: St John the Baptist (Prodromos) biography Representation of: St John the Evangelist biography Representation of: Archangel Michael biography Representation of: St Thaddeus biography Representation of: Virgin Mary biography Representation of: St Veronica biography Representation of: St Thomas biography Representation of: St Simon biography Representation of: St Philip biography Representation of: St Matthew biography Representation of: St James the Less biography Representation of: St James the Greater biography Representation of: God biography Representation of: Devil biography Representation of: St Peter biography Acquisition name Bequeathed by: Baron Ferdinand Anselm Rothschild biography Previous owner/ex-collection: Baron Anselm von Rothschild (1872 "Anhang" no.607.) biography Previous owner/ex-collection: Treasury of Charles V Previous owner/ex-collection: Jean, Duc de Berry biography Acquisition date 1898 Acquisition notes Treasury of HRE Charles V (reigned 1519-55), then the Imperial Hapsburg Collection, as recorded in inventories of 1544 and 1677, and then regularly in inventories of the Schatzkammer from 1730 -1856. The two heraldic plaques on the front of the base are enamelled with the arms of Jean, Duc de Berry (13401416), patron and collector, though the object does not appear in his inventories of 1401, 1413 or 1416. An inventory of his collections, 1401-2 mentions a grand imperial crown set with four Holy Thorns which was broken up into components to be re-used; three of the Thorns were given by Jean Duc de Berry to his mortuary Chapel in Bourges, but the fourth was to be made into `uno magno jocali auri" which is probably this object. The reliquary was lent from the Geistliche Shatzkammer in Vienna to an exhibition of Medieval and renaissance art in Vienna in 1860. After the exhibition it was sent for repair to Salomon Weininger, who made an inferior copy and sold on the original. The original may have been in Rothschild hands in Paris by 1866, and was acquired by Baron Anselm between 1872 and 1874, when the supplement to Shestag"s 1872 catalogue was published including this object. Doubts about the copy were first expressed in 1907 and again in 1923 and 1927, but only in 1959 were copy and original compared at the BM. The copy has enamelled doors on its reverse indicating that the original enamel doors were lost or removed between 1860 and 1898 when the original reliquary arrived at the BM. This collection is known as the Waddesdon Bequest under the terms of Baron Ferdinand Rothschild’s will. Department Britain, Europe and Prehistory Registration number WB.67

Rudolf Kurtz: Expressionismus und Film (a book)

Paul Leni: cover design for Rudolf Kurtz: Expressionismus und Film (1926)

An illustration in Rudolf Kurtz"s book. Rudolf Kurtz: Expressionism und Film. An art book by Verlag der Lichtbühne, Berlin 1926. With 73 reproductions, 5 colour plates and a cover illustration by Paul Leni. Nachdruck Zürich 2007 (Chronos), Herausgegeben und mit einem Nachwort versehen von Christian Kiening und Ulrich Johannes Beil. Read in the English edition: Rudolf Kurtz: Expressionism and Film. Edited with an afterword by Christian Kiening and Ulrich Johannes Beil. Translated by: Brenda Benthien. Printed and bound in China. Distributed by: Bloomington: Indiana University Press. Published by: Herts: John Libbey Publishing Ltd., 2016. In Pordenone at Le Giornate del Cinema Muto I spent a lot of time reading and re-reading the excellent programme catalogue, but there was also another splendid book in the guest package – a copy of Expressionism and Film by Rudolf Kurtz. I have known since my school days the classic books on Weimar cinema by Lotte H. Eisner (L"Ecran démoniaque) and Siegfried Kracauer (From Caligari to Hitler). I think they were available at the Tampere city library, and I soon acquired copies of my own. Eisner and Kracauer both relied on the first classic book on the topic – Rudolf Kurtz"s Expressionism and Film – but I had never come to read it before now. This book is very well written. Rudolf Kurtz was himself an insider in the German expressionist movement. We get a unique and privileged look into the birth of expressionism and the artistic atmosphere surrounding it, including trends in Picasso (Horta de Ebro, 1909) and Chagall (Naissance II, 1918) and the discovery of African art and the art of the insane. There are passages on sculpture, architecture, music, theatre, pantomime (Valeska Gert), and typography. "Of all art forms, film seems to be the least like art and the most like nature". This condition of naturalism was challenged by the expressionists, most famously in Das Cabinet des Dr. Caligari, approaching the condition of painting. Kurtz studies aspects of art direction, technology, and cinematography in making this happen. "Light breathed soul into expressionistic films". Kurtz focuses on the few key films: Caligari (the beginning which "has never been surpassed"), Von Morgens bis Mitternacht, Genuine, Das Haus zum Mond, Raskolnikow, and Das Wachsfigurenkabinett, and also gives comments on expressionist elements in film in general, including works such as Die Bergkatze, Nosferatu, Die Nibelungen, Hintertreppe, and Die Strasse. But even more generally: "Expressionism lent a hand whenever there was a need to express a particular kind of muted energy that was poised to spring, or whenever one strove to depict the sense of a situation beyond its outward appearance. Whether the liveliness of a cosmopolitan street or the oddness of a setting was to be rendered on a deeper level of consciousness, expressionist form was called on to provide the effect". These remarks seem valid even for film, television, and cyber games today. There is an excellent chapter on abstract art. Kurtz on Malevich: "Light and dark, direction and expansion organize the visual space into a battlefield of motion". Film-relevant names include Man Ray, Hans Richter, Viking Eggeling, Fernand Léger, Walther Ruttmann, and Francis Picabia. Kurtz analyzes the contributions of the director, the screenwriter, the actor, and the art director. He is frank about the limitations of the expressionist film, a topic to which is devoted a chapter of its own. In 1926 Kurtz saw expressionism already as a phenomenon of the past. "Expressionism as a strict art form is no longer current". "Wherever there is movement, there is change in the world; uniformity is paralysis of the soul. All paths lead toward the goal, but only a bolt of lightning can spark a flame". The editors, Christian Kiening and Ulrich Johannes Beil provide an extensive and useful apparatus of notation and a highly rewarding sixty-page afterword which helps us understand the context and impact of Rudolf Kurtz"s work. They also expand the list of relevant films with titles such as Verlogene Moral, Erdgeist, and Algol, and later related works like Shinel, Geheimnisse einer Seele, and Metropolis which had not been released by the time of the publication of Kurtz"s book. Kiening and Beil document the reception history of the book. It is also fascinating to learn about Kurtz"s reaction to Eisner"s work: "You are missing the central premise of my book. For me, Expressionism is not an artistic genre, but the expression of a world crisis". Read today, Kurtz"s work turns out to be one of the foundation works of studying film from the perspective of art history. It is based on first-hand observations and written in a style ranging from sober commentary to inspired generalizations. With its excellent illustrations it is also itself a work of art within the expressionist movement.

Beginnings of the Western 2, Prog. 3: Indian Pictures

When the West Was Young (US 1913), D: W. J. Bauman, photo EYE Filmmuseum, Amsterdam. Please do click to enlarge the images. Beginnings of the Western 2, Prog. 3: Indian Pictures Le Giornate del Cinema Muto: Origini del Western 2 Teatro Verdi, Pordenone, e-subtitles in English and Italian by Sub-Ti, grand piano: Gabriel Thibaudeau, 7 Oct 2016

The Arrow of Defiance (US 1912), D: James Young Deer, photo: La Cinémathèque française, Paris THE ARROW OF DEFIANCE (Dark Buffalo ou la flèche du défi) (US 1912). D: James Young Deer. C: James Young Deer (Bisonte Scuro / Dark Buffalo), Charles K. French (Sergeant Stewart). PC: Pathé. Rel: 16.3.1912 (U.S.), 2.1913 (France); 35 mm, 244 m, 715 ft, 10" (20 fps); titles: ENG, FRA (restored 2016). Source: La Cinémathèque française, Paris. Richard Abel: "The U.S. Army orders a small band of Indians to move their camp out of U. S. territory, an order that Sergeant Stewart explains to the Indian chief, Dark Buffalo. The chief rejects the order with an arrow of defiance, the signal of war. Dark Buffalo’s warriors attack and burn one of the white settlers’ farms, attack another white family, and pursue a small group of settlers heading for the army camp. Two men delay the Indians in a shoot-out, and the small group successfully enters the camp’s walled gate. The warriors attack the camp and clamber over the walls, but are forced to flee through the gate, leaving several dead behind. As the settlers and army soldiers celebrate, an Indian boy consoles a younger white girl. (Missing footage may explain that he was adopted by the girl’s white family, and both have escaped their burning farm.)" "This film bears some similarities with the Bison-101 Indian pictures in often depicting the action in a relatively deep space and in handling the conflict between whites and Indians with some degree of ambivalence – a characteristic first noted by Claudine Kaufmann, in Cinémathèque 12 (1997)." "One example is the conclusion of the Indian boy embracing the white girl in the foreground, while the white adults in the background seem to ignore them. Another, rather unexpected, is the shot that aligns movie spectators with a few Indian women in the foreground, as they watch the warriors’ burning a settler’s farm on a distant hill – a shot that echoes the opening shot of Stewart in the foreground looking down on the small Indian encampment in a distant valley." "The New York Dramatic Mirror praised the film’s atmosphere and “well managed Indian attack and white defense” [intercutting exterior and interior shots of the army camp], but found it lacked a “well-connected story” to knit the detached scenes together into a harmonious whole. This restoration’s added intertitles seek to create such a “well-connected story.”" – Richard Abel AA: Little remains to be said after such an excellent program note. The element of complexity is interesting in this movie, an approach of epic tragedy. This is not a melodrama of good and evil. The children are watching us. Directed by the Nanticoke James Young Deer, believed to be the first Native American film director and producer in Hollywood. Visually distinguished by an interesting use of composition in depth. 20 fps may be too fast a speed for this movie. Visual quality: a duped look but watchable.

When the West Was Young (US 1913). D: W. J. Bauman. Screencap from EYE on YouTube. WHEN THE WEST WAS YOUNG (De Dankbaarheid van den Indiaan) (US 1913). D: W. J. Bauman. SC: W. Hanson Durham. C: George C. Stanley (Falco Nero / Black Hawk), George Holt (the settler), Maxine Elliott (his young daughter). PC: Vitagraph. Rel: 29.9.1913. copy: incomplete, ending missing, 35 mm, 801 ft, 12" (18 fps), col. (tinted); titles: NLD. Source: EYE Filmmuseum, Amsterdam (Desmet Collection). Richard Abel: "Tom Bowles lives in a frontier cabin with his young daughter, when an Indian named Black Hawk comes to the door and rushes in, frightening the girl. Realizing he is faint with hunger, Bowles gives him food, and the grateful Indian leaves. Later he finds the tracks of a small band of Sioux warriors and returns to warn Bowles. But the frontiersman has to be shown the tracks, and is caught in an ambush and shot. Taken back to the cabin, the dying Bowles entrusts the girl to the Indian, who then has to pull her away from her father’s grave." "As Black Hawk sets out toward an army fort with the girl, the Sioux warriors discover them and follow. His progress slowed by the girl and his own condition, the warriors catch up with them. An arrow hits him in the back and he falls, but has time to point the girl toward the fort in the distance. A cavalry unit finds her and (as the print breaks off) keeps the warriors from scalping Black Hawk and chases them off." "Although an unusual subject from Vitagraph, this film tells a familiar story: a Native American is caught between cultures, threatened by another warring tribe and indebted to a white man, and he is forced to sacrifice himself for the future of the latter’s child. A Moving Picture World commentator praised the film for its simple, convincing story and its “artistic, pictorial quality,” which now seems less evident to our eyes than in earlier Indian pictures. That commentator also cast a critical eye on the film’s “realism” (typical of the time), expressing disappointment that, though starving, Black Hawk initially is so well nourished, yet he failed to note the detailed treatment of the cabin’s interior, where the girl efficiently handles cooking for her father." – Richard Abel AA: Again, it"s difficult to find words to add to Richard Abel"s remarks. Perhaps it is a Vitagraph feature to have such a prominent presence of a child in a Western. The convincing performance of the little girl as the shocked and exhausted daughter is essential for the psychology of the tale. It is impossible fully to judge this film because of the incomplete status of the print. The print is otherwise ok, with blue tinting for night scenes.

The Lieutanant"s Last Fight (US 1912), D+starring Francis Ford. Screencap from EYE on YouTube. THE LIEUTENANT’S LAST FIGHT (US 1912). D: Francis Ford. Cinematography: Ray Smallwood. C: Francis Ford (Grande Orso / Great Bear), William Clifford (Captain Haines), J. Barney Sherry (Colonel Garvin), Ethel Grandin (Ethel Garvin), Anna Little, Lillian Christy, William Eagleshirt (Sioux Chief, Great Bear’s father). PC: Thomas H. Ince, New York Motion Picture Co. / BISON 101. Rel: 1.6.1912. 35 mm, 1700 ft, 27"17" (17 fps); Main title missing; titles: NLD. Source: EYE Filmmuseum, Amsterdam (Desmet Collection). Richard Abel: "A Sioux chief sends his young son, Great Bear, to a U.S. military school. Ten years later, graduating as a lieutenant, he reports for duty at Fort Reno under the command of Colonel Garvin." "At a dinner, other officers and several young women receive him coolly, but Ethel, Garvin’s daughter, is welcoming. When the old chief visits the fort to admire his son, the officers and women watch the reunion, amused; Ethel, however, goes to meet Great Bear’s father with respect. Jealous of Ethel’s attention, Captain Haines confronts and insults the lieutenant. As the two rivals fight, Haines unholsters the other’s revolver and fires, drawing other officers to the scene." "Haines accuses the lieutenant of trying to kill him, which results in his courtmartial, dismissal, and public disgrace — stripped of his epaulets. Packing his belongings in a trunk, Great Bear prepares to leave and silently thanks Ethel, who sadly bids him farewell." "Returning to his tribe, Great Bear reveals what has happened; the enraged chief goes to the fort, denounces the officers, and threatens war. Garvin sends the fort’s young women on a stagecoach to another fort for their safety, but several warriors shoot a courier bearing an advance letter. The chief wants his son to join a war party, but Great Bear reads the letter and discovers that Ethel will be in danger. After the war party leaves, he stays behind, gets his uniform and revolver from the trunk, and rides off to try to save the white woman who trusted him. The Sioux warriors ambush the stagecoach in a gulch; Great Bear finds the fallen courier and takes his bugle; then he positions himself on a shrubby hill above the encircled whites and begins firing at the warriors." "One soldier escapes the battle and, after a treacherous ride, reaches Fort Reno, where the cavalry is dispatched." "Seeing the soldier’s escape, Great Bear waits to sound the bugle, and the warriors begin to withdraw as the cavalry approaches. But one retreating warrior sneaks up, shoots Great Bear in the back, and leaves him for dead." "Bison 101 Indian pictures were shot in the hills of “Inceville” north of Santa Monica and cast many Oglala Sioux from the Miller Brothers’ “101 Ranch” shows in secondary roles. These films tended to tell stories of the Plains Wars of the 1870s (prominently displayed in the colonel’s office is a portrait of President Grant). And their attitude toward these wars was ambiguous. The stories often made an “in-between” Native American the central figure, one of unfixed identity, who could neither assimilate into white society nor fully return to his/her native community. And sometimes that figure had to die as a sacrifice to the emerging, dominant white society — literalizing the icon of the “ vanishing Indian.” In a later film, The Invaders (1912), available on the National Film Preservation Foundation’s Treasures 2 DVD set, for instance, Sky Star (Anna Little) helps save a fort from a Sioux attack and is honored in death by the whites. Here, in The Lieutenant’s Last Fight’s final twilight tableau, Great Bear’stragic sacrifice goes “unwept, unhonored, unsung, ”his heroism unknown even to the young woman for whom he gave his life." – Richard Abel AA: On this Dutch print Great Bear is called Buffalo Big. The Lieutenant"s Last Fight along with The Struggle are the highlights among the 17 Westerns screened this year in Pordenone. There is a tragic grandeur in this tale of a Sioux warrior (played by Francis Ford himself) caught and lost between two worlds. The striking mise-en-scène, often composed in depth, is a showcase of the high cinematic level that Francis Ford reached in Thomas H. Ince productions and the great standard he set for his little brother John Ford. Even thematically, in the scenes where the soldiers turn their backs on Great Bear, I was reminded of Two Rode Together (the chilling reception of the Indian captives at the fort). A print in low contrast but fair and watchable. *

The Struggle (US 1913), D: Thomas H. Ince. Screencap from YouTube. THE STRUGGLE (US 1913). D: Thomas H. Ince. C: Elmer L. Morrow (Bob Worth), E. H. Allen (sheriff), Edgar Keller, Richard Stanton, J. Barney Sherry. P: Thomas H. Ince, Broncho. Rel: 1. 1913. 35 mm, 1722 ft, 28" (16 fps); titles: ENG. Source: George Eastman Museum, Rochester, NY. Preservation funded by the National Film Preservation Foundation. Scott Simmon: "“There are many thrills in this,” Moving Picture World reported in January 1913, reviewing The Struggle, Thomas Ince’s casually masterful tworeel Western in which the buckskinned lead is athletically heroic once per reel: saving the colonel’s daughter from a runaway stagecoach and then the sheriff (who has wrongly arrested him) from a larger Indian attack." "By early 1913, Ince’s “101 Bison” label had just been lost to Universal, and this “Broncho” film, although shot in the same hills above Santa Monica, California, moves closer to “classic” Western revenge plotting, in this case for a murdered father. The film opens with a race-to-the-rescue and seldom lets up. (It pauses for a hilltop silhouette of the escaping murderer on horseback, an evocative image usually saved for heroes.)" "The price paid for Ince’s move from tales of conflicts within tribes or against the cavalry is that the Indian “hostiles” now lack the slightest motivation or individuality. But the staging and cutting are very inventive." "Moving Picture World singled out the “well pictured” cliff-face shootout but critiqued the impressive stagecoach rescue, shot w ith rapidly tracking cameras but also with on-set medium shots, which brought this criticism: “The run of the stagecoach is shown by theatrical devices which seem a little unnecessary in the open country.” What’s more surprising is how inventive the interior staging is, as in the tight close-up of the colonel and his daughter with the sheriff looming behind." "There is, it’s true, some uncertainty in the staging – or perhaps just in the intertitling. The happy opening household appears to be a miner and his wife and their teenaged son, but the studio’s synopsis states that the woman is the miner’s “daughter, a girl of twenty.” The woman is never seen again, so that the impression that she must be the hero’s mother is reinforced by his later identification of the murderer: “ he killed my father and my mother died of a broken heart.”" "The Struggle was also the title of four subsequent films in 1913 alone , including a “ Broncho Billy” Western and, in what may have been particularly galling to Ince, a Bison film from Universal." – Scott Simmon AA: Bob as a boy witnesses a stranger about to rape his mother and his intervening prospector father being murdered by the villain. Five years later Bob is a government scout who recognizes the assassin, now a card sharp, by the scar on his cheek (wounded by Bob"s struggling mother), but Bob is mistakenly wanted for killing another card player actually shot by the villain. Bob becomes a chased chaser in an epic story involving a stagecoach attacked by Indians and an escalating Indian war. Despite Bob"s heroism he is only saved by chance as the villain makes a confession on his deathbed. A story of tragic complexity. Visual quality of the print: fair, quite watchable.

The Flaming Arrow (US 1913), D: Lincoln J. Carter, photo BFI National Archive, London. THE FLAMING ARROW (US 1913). D+SC: Lincoln J. Carter. asst D: Jack O’Brien. C: ?. PC: 101 Bison Films / Universal. Rel: 3.1913. 35 mm, 1800 ft, 27" (18 fps); titles: ENG. Source: BFI National Archive, London. Scott Simmon: "The Flaming Arrow must be unique among surviving early Westerns for both beginning and ending with happy interracial love. We open with a white miner’s smiling Indian wife arranging a tablecloth in their log cabin. Out front after dinner, the miner shares a smoke with his friend Black Eagle as the couple’s mixed-race son plays nearby. This idyll ends after the miner is shot defending Black Eagle’s tribe from Apaches a nd the distraught wife kills herself on his grave. Their orphaned son, White Eagle, is adopted into the friend’s tribe. Ten years later the son returns from government Indian school in a suit, with briefcase, before happily re-dressing in native gear. In the film’s surprising closing shot, the now-heroic White Eagle and the daughter of the cavalry colonel walk arm in arm toward a tight close-up. It is implied that their marriage will follow." "Moving Picture World couldn’t help but notice the racial revisionism, with “ the old perplexed question of blood not being raised” between the lovers. By early 1913 Indian subjects remained popular, but story innovations were evidently needed. The usual plot conventions were on display, for instance, two months earlier in Ince’s The Burning Brand, when a cavalry lieutenant, learning his mother was an Indian, must abandon the colonel’s daughter and die in an attempt to win her back through a tribal attack. The racial alliances in The Flaming Arrow remain unconventional throughout, even if the friendship of Black Eagle with the colonel look traitorous when, in the final battle, he has no qualms about shooting down his tribe from the safety of the fort. By then, however, we have a new racial villain, a Mexican who teams up with the daughter’s jealous white suitor to ply the Indians with liquor and stir them to war." "The scenario is based on Lincoln J. Carter’s play The Flaming Arrow, which debuted on Broadway in December 1900. But if Carter’s blood-and-thunder melodramas were old-hat in New York, they had long national tours, which Carter (born on the day of President Lincoln’s assassination in 1865, hence his first name) was still managing into the 1910s. Advertising claims that the film was “written and staged under the personal direction of its author, Lincoln J. Carter” are confirmed by Variety (14 February 1913)." "This was Carter’s first try at film directing, and he was assisted by Jack O’Brien, experienced as a cameraman on “Broncho Billy” Westerns and as a director of the authentically rough “Circle Ranch” films." "Unlike competing films from Ince, and earlier Universal Indian pictures such as A Redman’s Love (October 1912) or The Rights of a Savage (December 1912), it’s evident that this 101 Bison film, like the original Broadway play, made no attempt to cast Native Americans in Indian roles." "Trade reviews were mixed. The New York Dramatic Mirror called The Flaming Arrow “trite,” while Motion Picture News thought it “very splendidly staged.” Moving Picture World, with an eye to Carter’s plays, said, “As might have been expected, it is melodramatic in the extreme.... Incident crowds upon incident, till in one or two places the plot becomes somewhat obscure.” True, viewers today need the synopsis even to sort out the opening relationships, but thanks to its racial iconoclasm, the film is never less than surprising." – Scott Simmon AA: Scott Simmon says it all in his program note. The most interesting feature of The Flaming Arrow is the matter-of-fact acknowledgement of love relationships between whites and Native Americans. The hero of the movie is White Eagle who, having survived epic ordeals, saves the colonel"s daughter who has a riding accident and escorts her safely home. Loyalties get complicated as the Indians go on warpath against the cavalry. A lively mise-en-scène. Visual quality of the print: duped but watchable. AA: Thomas H. Ince engaged an actual Oglala Sioux tribe (of 200) in Inceville, but often Native Americans were not cast to play Indian roles. Of this I have a theory which I have not seen discussed anywhere. Might Native Americans often have preferred to have others play them? Might they have endorsed the phenomenon of "fake Indians" to represent them in the public sphere? There was at times for Native Americans a taboo aspect in the very concept of the image, photographic or cinematographic. The one who took a photograph was able to take away the soul of the photographed.

Behind the Door (2016 restoration by San Francisco Silent Film Festival / Gosfilmofond)

Behind the Door. Magazine ad. The shadow behind Hobart Bosworth is a hint at the atrocities involved in the taxidermist"s vengeance. Please do click on the images to enlarge them.

Behind the Door. War has been declared. Oscar Krug (Hobart Bosworth) has German family roots. He is manhandled and almost lynched. Photo: Collezione Jay Weissberg.

Behind the Door. Captain Oscar Krug, about to start his war service, says farewell to his beloved wife Alice (Jane Novak). Photo: Collezione Jay Weissberg.

Behind the Door. Oscar Krug, the sole survivor of the ship hit by the torpedo of a German U-Boot. Photo: Collezione Jay Weissberg.

Behind the Door. The unsuspecting German U-Boot commander Lt. Brandt (Wallace Beery) enjoying the hospitality of Oscar Krug. Photo: Collezione Jay Weissberg. Behind the Door. US 1919. PC: Thomas H. Ince Prods. Dist: Famous Players-Lasky Corp. / Paramount-Artcraft. Supervisor: Thomas H. Ince. D: Irvin V. Willat. Orig. 5969 ft. 2016 restoration: San Francisco Silent Film Festival. Tinted & toned, Desmet method. 5221 ft / 20 fps / 70 min Print source: San Francisco Silent Film Festival / Gosfilmofond of Russia. Le Giornate del Cinema Muto: Riscoperte. Teatro Verdi, Pordenone, e-subtitles in Italian by Sub-Ti, grand piano: Philip C. Carli, 6 Oct 2016. AA: Released one year after the Armistice of the First World War, Behind the Door still belongs to the current of wartime propaganda films. Late examples of that current included The Heart of Humanity which had had its premiere in February 1919. Special features of these films included sadistic German officers (Erich von Stroheim in The Heart of Humanity, Wallace Beery in Behind the Door) and Red Cross nurses facing fates worse than death. In The Heart of Humanity Stroheim throws a crying baby out of the window before having his way with the nurse. In Behind the Door there is open season among the German submarine"s crew with the American captain"s wife, whose remains are finally blasted off through the torpedo tube. Watching Behind the Door I had the feeling that sadism was the raison d"être for this film, and war propaganda was the excuse. Cinema has a special ability to appeal to our basest instincts, and in Behind the Door this ability is liberally put to use. One of the most terrible effects of war is brutalization. Behind the Door is an account of brutalization and also itself an instance of brutalization. There is a strong and bold account of xenophobia in the beginning of the film. War has been declared against the Central Powers, including Germany. Captain Oscar Krug (Hobart Bosworth), who has German family roots, is immediately manhandled, and his newly wed wife Alice (Jane Novak) is banished from her father"s house although Krug has been enlisted. Because there is no other place for Alice to go she enlists, as well, as a Red Cross nurse on her husband"s very ship. Oscar Krug is a taxidermist, and when they finally sink the submarine of Ltn. Brandt Krug personally rescues Brandt and has him brought to his cabin where he shows him perfect German hospitality. During a long and delicious meal liberal quantities of alcohol are consumed, and Krug learns the unabridged story of Alice"s fate ("she fought like a tiger"). After which Krug proceeds to skin Brandt alive. Unfortunately "he died before I was finished". Krug has become deranged. In his extreme cruelty he has turned out to be a beastly Hun after all. "The German streak crops out sooner or later", say the fellow officers. The xenophobia and the prejudices displayed by the mob in the beginning are proved right. Like in The Heart of Humanity the strongest performance is that of the villain: Erich von Stroheim in the earlier film, Wallace Beery in this one. With Maurice Tourneur"s Victory (also 1919), Behind the Door belonged to the most prominent early roles by Beery who had already acted in dozens of films since 1913. I have been aware of Behind the Door since reading Kevin Brownlow"s books, and I have not been looking forward to see it. Behind the Door is a very well made film, interesting mostly from the viewpoint of the psychopathology of the audiences. Impressive features include the haunting scenes at the graveyard by the sea (in the beginning and in the end of the movie), Krug charmingly "healing" a little girl"s doll, the account of the mob violence, the wild fistfight, scenes of sailing and being cast adrift, and the sadistic act being conveyed by the reactions to ghastly sounds by fellow officers in an adjacent cabin in a silent film. A top quality reconstruction and restoration from obviously challenging sources with damaged footage and scenes missing.

Beginnings of the Western 2, Prog. 2: Cowgirl Films

Sallie"s Sure Shot (US 1913). Myrtle Stedman as Sallie who has a way with the gun. Photo: BFI National Archive, London. Please click on the images to enlarge them. Beginnings of the Western 2, Prog. 2 Cowgirl Films Le Giornate del Cinema Muto: Origini del Western 2. Teatro Verdi, Pordenone, e-subtitles in English and Italian by Sub-Ti, grand piano: Donald Sosin, 6 Oct 2016.

Broncho Billy"s Narrow Escape. The duet of Broncho Billy and Vedah Bertram. Photo: EYE on YouTube. BRONCHO BILLY’S NARROW ESCAPE (Een moeilijke ontsnapping van Broncho-Bill) (US 1912). D: G. M. Anderson. C: G. M. Anderson (Broncho Billy), Vedah Bertram (Lois Martin), Arthur Mackley (Ben Martin), Brinsley Shaw (Baxter), Fred Church, Victor Potel, Harry Todd, Jack Roberts, Pat Rooney, Willis Elder. PC: Essanay. Rel: 6.7.1912. 35 mm, 940 ft, 13"50" (18 fps); titles: NLD. Source: EYE Filmmuseum, Amsterdam (Desmet Collection). Richard Abel: "Ben Martin is a prospector with a partner, Baxter, who wants to marry Lois, Martin’s daughter. Hired by the prospector, Broncho Billy and Lois are attracted to one another, and their singing (to guitar and banjo) irritates both Baxter and her father. The prospector discovers some rich ore and sends Billy off on horseback to stake a claim. Rejected by Lois, Baxter follows and, encountering two sets of cowboys, falsely accuses Billy of stealing the prospector’s horse. After a chase along a wooded hillside, they catch up with Billy, take him into a barn, and threaten to lynch him. Meanwhile, incredulous at Baxter’s accusation, Lois races off on horseback and reaches the barn just in time to prove Billy’s innocence. The film ends with an emblematic close shot of the couple smiling and chatting, until Billy (in an a typical gesture) slides a ring on to her finger." "This too is a rather unusual “Broncho Billy” film in that he is an ordinary cowboy falsely accused of being a thief and has to be rescued by the woman he loves, who can ride a horse as well as any man. Also unique is the couple’s pleasure in singing and playing music together, w hich signals their compatibility." "Even the camerawork has its unexpected moments, as in several shots near the end, when the characters come forward into silhouette as they pass through the barn door, from the brightly lit exterior to the darkness of the interior." "According to David Kiehn, leading lady Vedah Bertram (actual name, Adele Buck) made 22 westerns with Anderson between December 1911 and August 1912, when she suddenly was hospitalized in Oakland, California, with acute appendicitis, and died of a blood clot and inflammation of the heart on August 26, 1912, at the age of 20." – Richard Abel AA: In reaction to Richard Abel"s thorough program note above I can only confirm that the chemistry between Broncho Billy and Vedah Bertram is appealing, the joy of the duet singing to guitar and banjo is infectious, and the rescue by Lois (Vedah Bertram) is unusual but convincing. Yes, interiors are dark, but the visual quality is ok.

A Girl of the West (US 1912), Rollin S. Sturgeon, starring Lillian Christy, photo Collezione Jay Weissberg. A GIRL OF THE WEST (De Paardendieven) (US 1912). D: Rollin S. Sturgeon? C: Lillian Christy (Dolly Dixon), Helen Case (Polly Dixon), Helen Galvin (Nell), Robert Thornby (Scar-faced Bill), Tom Fortune (John Winthrop), Tom Powers (Jack Jones). PC: Vitagraph. Rel: 20.01.1912. 35 mm, 902 ft, 13" (18 fps); titles: NLD. Source: EYE Filmmuseum, Amsterdam (Desmet Collection). Scott Simmon: "“HOORAY! FOR THE AMAZONS,” shout cowboys in the final intertitle of the slightly mistitled A Girl of the West, which features two guntoting, rapid-riding young women – the ranch girl (Polly) and the outlaw (Nell) – along with the heroine’s older sister ( Dolly), who lectures her unsuccessfully about proper female behavior in the West. This story has its pleasures, even if the film’s marketing tag – “ Clever as they make’em” – proves to be a bit of a stretch. “ Scar-faced Bill’s” scheme is harebrained even by Western bad-guy standards, and relies on selling a stolen horse to a rancher who has already shaken hands over the purchase w ith the rightful owner. That owner, Dolly’s love, is hardly brighter, failing even to notice that his horse has been stolen until the final shot, when Polly hands him the purchase money she has recovered. Women clearly need to take charge!" "The film uses its dull landscapes badly, foregrounding messily staged groups. A Girl of the West is evidently one of the final Westerns Vitagraph shot on the East Coast, and the flat dirt auto roads where the chases are uninventively shot, along with the lack of interiors, add to a visual style that is oddly old-fashioned from this usually sophisticated company." "Although Vitagraph had filmed in Southern California on winter tours dating back to 1910, its new Santa Monica studio had opened only the month before this film’s release in January 1912. Its possible director, Rollin Sturgeon, moved West with the new studio, and would prove to be inspired by California landscapes." "A Girl of the West’s advertising fails to keep its story straight, conflating the two sisters: “She is full of pluck and able to take care of herself when attacked. ‘She’s a trump.’ Herbeau tells her so and then and there proposes.”Moving Picture World’s review (3 February 1912) makes the same character confusion, and was otherwise underwhelmed. The love-interest sister, Dolly (renamed Daisy in the surviving Dutch print), appears only in the first two and the final shots. It’s as if the ideal heroine needed to be split in two, with our horse woman Polly proving too fully one of the boys to be marriage material. She ends laughingly happy with that." – Scott Simmon AA: Scott Simmon"s program note is so good that I can only keep nodding at it. Lillian Christy and Helen Case are attractive as the Western sisters Dolly and Polly. Polly discovers the horse thieves" plot. Plenty of action, but there is little talent in directing and mise-en-scène. Visual quality ok.

The Craven. Anne Schaefer is disappointed at her husband Robert Thornby. He has seduced her with tales of heroism but turns out to be a coward. Photo: EYE on YouTube. THE CRAVEN (De vrouw van den lafaard) (US 1912). D: Rollin S. Sturgeon. C: Anne Schaefer (Anne [Dutch print: Maud]), Robert Thornby (Harvey Fiske), [William] Eagle Eye (The Mexican), Charles Bennett (Mr. Childs, Anne’s uncle), Fred Burns (Tom Beckett), ? (Black Pete). PC: Vitagraph. Rel: 19.4.1912. 35 mm, 902 ft, 14"50" (16 fps); titles: NLD. Source: EYE Filmmuseum, Amsterdam (Desmet Collection). Laura Horak: "“Only goes to s how that the wife is sometimes the ‘betterman’ of the two. A cowardly husband gets credit for bravery that his wife performs, leading others to believe that he is a man to be honoured,” announced a Vitagraph ad for this film." "Anne, the niece of a ranch owner, and the local ranch hands all fall under the spell of a boasting city slicker, Harvey Fiske. Anne marries Harvey, but discovers too late that he is a coward. When a Mexican bandit threatens to kill them if they don’t give him $50, Harvey trembles and goes for the money. Anne grabs a gun and chases the bandit off. The ranch hands, none the wiser, elect harvey to be their sheriff. However, when he receives instructions to apprehend another notorious bandit, he tells his wife he can’t do it. Anne yanks off his ammunition belt and straps it to her own waist, grabs her hat and rifle, and stomps out the door. She manages to track down the bandit and, after a thrilling shoot-out among a stand of tall rushes, kills him. Anne returns home and orders Harvey to recover the body and take the credit. From the house, she watches through the window as he rides into town w ith the body and later shakes the hands of the happy ranch hands." "The Craven was one of many films from this period that dramatized white male cowardice (e.g., The Honor of His Family, 1910). It was also one of many in which courageous white women took over for incapacitated brothers, husbands, and sweethearts (e.g., On the Western Frontier, 1910; A Western Girl’s Sacrifice, 1910; The Post Telegrapher, 1912). In fact, Anne Schaefer played a similar role in How States Are Made (1912), shown at last year’s Giornate. Schaefer had moved from Brooklyn to Los Angeles with Vitagraph regulars Sturgeon, this film’s director, and actors Thornby, Bennett, and Burns (all in this film) in October 1911 to form the Western branch of the Vitagraph Company. The Western Vitagraph films were often praised for uniting spectacular locations with quality photography, complex plots, and mature acting." – Laura Horak AA: Again the program note – by Laura Horak – fully covers everything. "The newcomer seduces Anne / (Maud in this print) with false tales of heroism". But when there is an invading robber, Anne needs to take care of him. When Harvey, believed to be the hero, is appointed sheriff, he "does not dare refuse". Also the assignment to seize Black Pete needs to be handled by Anne. The psychological depth of this story becomes evident towards the end. Anne"s deep shock at the realization that she has killed Black Pete. She asks Harvey to "go ahead and take the reward". Her sorrow and disappointment. Fine performances by Anne Schaefer and Robert Thornby. The landscapes are beautifully photographed. A somewhat duped but ok visual quality.

A Bit of Blue Ribbon. Photo: EYE. A BIT OF BLUE RIBBON (Het blauwe lint) (US 1913). D: Rollin S. Sturgeon. SC: W. Hanson Durham. C: Mary Charleson (Kitty), Charles Bennett (Jim Hartwell, her father), Anne Schaefer (her mother), Robert Burns (Steve), [William] Eagle Eye (a Mexican). PC: Vitagraph. Rel: 4.1.1913. 35 mm, 741 ft, 11"04" (18 fps); titles: NLD. Source: EYE Filmmuseum, Amsterdam (Desmet Collection). Laura Horak: "Kitty, a ranch owner’s daughter, loves Señor, an old racing horse to whom she has tied a blue ribbon. When her father Hartwell tells her cowboy sweetheart Steve to kill Señor, he refuses. (These parts of the story are not explained in the Dutch intertitles.) Instead, Hartwell undertakes the task; just as he is about to shoot Señor, a Mexican appears and tries to steal Hartwell’s horse. A shot is fired, and Hartwell falls to the ground. The Mexican grabs the ribbon out of Hartwell’s hand and puts it in his hat. Steve arrives, and shots are exchanged." "The Mexican rides off, and tells the ranch cowboys that Steve has shot the ranch owner. The cowboys find Steve bending over Hartwell and bring Steve to the sheriff. Hartwell regains consciousness, but has amnesia. After Kitty and her mother tend to him, he regains his memory and tells them the truth." "However, the sheriff and cowboys are about to hang Steve for the crime. Kitty leaps on a horse and rides off to stop them, but she encounters the Mexican, who is running away on foot. She leaps off and attacks him, but he steals her horse, dropping his hat with the ribbon in it. She grabs the hat and runs to the hanging tree, arriving ust in time to show the ribbon and explain what really happened. The cowboys chase and shoot the Mexican, who falls off his horse. The synopsis says that the Mexican, “confronted with the evidence of his guilt, the bit of blue ribbon... confesses and is sentenced to death,” but we don’t see this in the surviving print. Instead, after Kitty and Steve embrace, Steve shakes Hartwell’s hand." "This convoluted plot was written by W. Hanson Durham, a prolific photoplay writer who was hired by Vitagraph in the fall of 1912 to write and edit scenarios for their Western studio. Durham wrote articles for aspiring scenario writers in the magazine The Photo Playwright, advising them to buy a “brain book” and write down any “striking and strong” title that occurred to them. He bragged that he had bought a Maxwell automobile with the proceeds from his screenplays , and the magazine’s editor praised his “good, strong, virile photoplays.”" "William Eagle Eye plays Mexican bandits in both The Craven and this film. Born in Globe, Arizona, in 1880 (or 1887), Eagle Eye played Mexican, Indian, and sometimes Chinese villains in over 40 films. Little is known about him, but he declared himself “Indian” and his occupation “buffalo herder” in the 1910 census, which found him working at an Oklahoma ranch." "He was likely Apache or Yavapai, as these groups had been forced onto a reservation near Globe in 1872, after silver was discovered on their land. Eagle Eye worked in films between 1911 and 1924, and is said to have died in Los Angeles in 1927 when he was knocked to the ground in a fist fight." – Laura Horak AA: There is nothing to add to Laura Horak"s note in which the film makes more sense than in the print viewed (in which important background information is missing, as is the fate of the bandit). A complicated story of misunderstandings, and a last minute rescue of the hero (Robert Burns) by the heroine (the appealing Mary Charleson). High contrast.

UNA OF THE SIERRAS (US 1912). D: Ralph Ince. SC: Marguerite Bertsch. C: Mary Charleson (Una), George Stanley, Anne Schaefer, Earle Williams, Robert Thornby, Florence Turner, E. K. [Edward Kline] Lincoln, Ralph Ince, Tefft Johnson. PC: Vitagraph. rel: 15.11.1912. 35 mm, 924 ft, 13"41" (18 fps); titles: ENG. Source: BFI National Archive, London. Laura Horak: "“Brought up in the Mountains Wild, She is more than a Match for a Crafty Financier. She’s a Hummer and Can Do Things,” announced Vitagraph’s ad. Una is the only child of a California prospector. When he dies, she goes to live with her aunt in the city, accompanied by a tidy fortune (“enough gold to pay the national debt!”). She explores her new surroundings with zest, jumping into the driver’s seat and even onto the hood of a moving car and doffing her outer clothes to splash around in the Pacific. Her wealth and liveliness prove popular, but she spurns Sharpe, a shady investor, in favor of the kindly Clifford, also a stock broker. When Sharpe conspires against Clifford, Una thwarts his plan by convincing her uncle to buy up 50,000 shares of stock and showing up at the boardroom to cast her votes and cast igate the scheming company leaders. In this print, the film ends with Una smiling at the gratified Clifford. In the published synopsis, she asks Clifford “if they are engaged,” and he answers with a kiss." "Placing a frontiersperson in the city or a city slicker on the frontier was a sure-fire way to get a laugh in the 1910s and also to symbolically resolve the regional tensions of a large, diverse country. Often these contradictions are enacted by cowboys who romp through the big city, in films from The Cowboy Millionaire (1909) to Manhattan Madness (1916), or by coddled city boys who try their hand Out West, from Algie the Miner (1912) to Wild and Woolly (1917). However, city women also give ranch life a go in The Cow Boy Girls (1910) and The Cowboys and the Bachelor Girls (1910), and frontier females take on the city in the Mabel Normand vehicles Mickey (1918) and Rowdy Ann (1919)." "With this film, Rollin S . Sturgeon turned to “comedy without chaps,” the New York Dramatic Mirror noted, though the director credit ultimately went to Ralph Ince, younger brother of the producer Thomas H. Ince. The film was written by Marguerite Bertsch, the prolific Columbia University-educated screenwriter hired as a staff writer at Vitagraph in 1911. She not only rose to editor-in-chief of the scenario depar tment in three years, but also directed four films, telling a journalist: “I never wrote a picture that I did not mentally direct. Every situation was as clear in my mind as though the film was already photographed.”" "Born in Ireland, actress Mary Charleson moved to California at a young age and performed in more than 80 films between 1912 and 1920. In 1916 she began appearing opposite Henry B. Walthall. They married two years later, after his divorce, had a daughter, Patricia, and remained together until Walthall’s death in 1936." – Laura Horak AA: A comedy about a girl from the Wild West (Mary Charleson) who arrives at the city, an early instance of a theme that was still valid in Beverly Hillbillies and Coogan"s Bluff. (The Finnish counterpart would be Rovaniemen markkinoilla). Mary Charleson is funny as the wild girl, restless in a moving car, throwing her clothes off at the beach, surprising everybody at the shareholders" meeting. A fine roster of female players (with Anne Schaefer and Florence Turner). Well directed, well acted. The acting is natural. A fine print with some duped passages.

SALLIE’S SURE SHOT (US 1913). D: ?. PC: William Duncan. SC: Cornelius Shea. C: Myrtle Stedman (Sallie), William Duncan (deputy Fred), Lester Cuneo (Coyote Jim), Tom Mix (“Injun” Sam), ? (Rob Ralston, Sallie’s father). PC: Selig. Rel: 4.7.1913. 35 mm, 973 ft, 14"25" (18 fps); titles: ENG. Source: BFI National Archive, London. Laura Horak: "“A Tale of Devotion and Dynamite.” Coyote Jim and his gang plan to jump Ralston’s mining claim when he leaves his daughter Sallie alone at their mountain cabin. Sallie pulls a gun to scare off “Injun” Sam, who spies on the cabin. After Fred, Sallie’s sweetheart, warns the gang, Jim, Sam, and the others go ahead w ith their plan. They threaten Sallie and take her to the nearby claim. While Fred slowly approaches the claim, the gang prepares to dynamite the cabin, lighting a fuse they have run out a window. As the gang begins to celebrate, Sallie grabs a rifle, keeps them at bay, and whirls to cut the fuse in half with a “sure shot.” After Sallie and Fred return to her cabin Jim relights the fuse, but Fred grabs the dynamite and throws it at the gang. In the explosion’s aftermath, he and Sallie tie them all up and hand them over to the sheriff. "Selig films had long dramatized the grit of Western women, from the hardworking sisters who run a Colorado farm in Girls in Overalls (1904) and the dangerous cross-dressing Female Highwayman (1906) to the athletic cowboy girls portrayed by Pansy Perry, Myrtle Stedman, Betty Harte, and Kathlyn Williams. In fact, Sallie was not the first Selig heroine to display such impressive shooting skills – in The Girl from Montana (1907), Pansy Perry’s character races on horse back to rescue her falsely accused sweetheart and shoots through the suspended rope just as he is hung." "Myrtle Stedman (née Lincoln) appeared in more than 200 films between 1910 and 1938, the year she died. In addition to cowboy girls, she played militant suffragettes in Selig comedies like When Women Rule (1912) and The Suffragette, or The Trials of a Tenderfoot (1912). Stedman left Selig later in 1913 and worked for several companies. In 1915 she starred in Lois Weber’s film The Hypocrites, and became the first woman elected to the short-lived Motion Picture Board of Trade of America. A journalist noted that Stedman was“ blessed with an abundance of brain, diplomacy and popularity.” Her son, Lincoln Stedman, became a movie actor and theatrical producer." "The film was shot in Prescott, Arizona, where the local Chamber of Commerce had lured Selig’s Colorado unit in January 1913, when Lubin’s Western company left for Mexico. Selig made Westerns in Prescott for more than a year, building the Diamond “S” Ranch just outside the town. Tom Mix plays the “halfbreed” Sam, which was a regular type for him at this time, unless he was playing the cowboy hero for which he became famous." – Laura Horak AA: A tale of female heroism. Myrtle Steadman is convincing as Sallie, the prospector"s daughter, who thwarts the villains" intention to jump her father"s claim. Together with her sweetheart Fred she resists the villains" gang, but Sallie"s marksmanwhip is crucial: she cuts the dynamite fuse with her bullseye shot. There is a touch of comedy in the finale when the villains are packaged together with rope. An ok, fair print.

U.S. Presidential Election Films 1896–1924

Franklin D. Roosevelt and Baby Peggy together at the 1924 Democratic Convention in Madison Square Garden in New York, 26 June 1924, photo: LoC. This scene does not appear in the films. Baby Peggy (born in 1918) is still alive at the date of this screening. Please click on the images to enlarge them. Elezioni presidenziali Americane / U.S. Presidential Election Films 1896–1924 Le Giornate del Cinema Muto Teatro Verdi, Pordenone, e-subtitles in Italian by Sub-Ti, grand piano: José Maria Serralde Ruíz, 5 Oct 2016 McKINLEY AT HOME, CANTON, OHIO (US 1896). P+cinematographer: W. K. L. Dickson. Asst cinematographer: Billy Bitzer. Feat: William McKinley, Ida McKinley (wife), George B. Cortelyou (secretary). EX P: Abner McKinley. PC: American Mutoscope Company. Filmed: 18.09.1896, Canton, Ohio. Rel: 12.10.1896 (première: Hammerstein’s Olympia Music Hall, New York City). © 7.1.1897. DCP (from 35 mm), 43" (transferred at 16 fps); titles: ENG. – AA: A glimpse of William McKinley"s front porch campaign. Visual quality: slowed down, low contrast, paper print look. EMPIRE STATE EXPRESS (US 1896). P+cinematographer: W. K. L. Dickson. Asst cinematographer: Billy Bitzer. PC: American Mutoscope Company. Vilmed: 30.9.1896. Rel: 12.10.1896 (première: Hammerstein’s Olympia Music Hall, New York City). © 25.07.1902. DCP (from 16 mm), 17" (transferred at 20 fps); titles: ENG. – AA: A glimpse of the iconic American train view. Visual quality: a low contrast digital transfer from 16 mm. ROOSEVELT’S ROUGH RIDERS (US 1898). Cinematographer: ?. Feat: First United States Volunteer Cavalry. PC: American Mutoscope & Biograph Company. filmed: 6.1898, Tampa Bay, Florida. © 18.06.1903. DCP (from 35 mm), 29" (transferred at 20 fps); titles: ENG. – AA: A glimpse of Roosevelt"s Rough Riders charging towards the camera. Visual quality: a low contrast, duped look.

Theodore Roosevelt, 1900 campaign speech, photo Library of Congress Packard Campus for Audio Visual Conservation, Culpeper, VA. This image is not in one of the films. GOVERNOR ROOSEVELT AND STAFF (US 1899). Cinematographer: F. S. Armitage. P: Wallace McCutcheon, American Mutoscope & Biograph Company. Filmed: 30.9.1899, New York City. © 21.05.1902. DCP (from 16 mm), 1"11" (transferred at 20 fps); titles: ENG. – AA: A view of the Dewey Parade on a sunny street. Visual quality: low contrast, paper print look.

TERRIBLE TEDDY, THE GRIZZLY KING (US 1901). D: George S. Fleming, Edwin S. Porter. Cinematographer: Edwin S. Porter. PC: Edison Manufacturing Company. © 23.02.1901. DCP (from 35 mm), 55" (transferred at 20 fps); titles: ENG. – AA: This film is familiar in Helsinki as we regularly screen it as a part of our Edison / Porter compilation programme. A crude farce on Teddy shooting teddies, accompanied with his press agent. The pianist José Maria Serralde Ruíz played "Teddy Bears" Picnic" during this movie. PRESIDENT ROOSEVELT’S HOMECOMING (US 1904). Cinematographer: G. W. “Billy” Bitzer. PC: American Mutoscope & Biograph Company. Filmed: 2.7.1904, Oyster Bay, Long Island, NY. © 12.7.1904. DCP (from 16 mm), 1"12" (transferred at 18 fps); titles: ENG. – AA: The train arrives at the station, observed at some distance with a jumpy camera. The magnitude of the crowd is impressive.

Alton B. Parker, Henry G. Davis, 1904, photo Library of Congress Packard Campus for Audio Visual Conservation, Culpeper, VA. This image is not in one of the films. JUDGE PARKER RECEIVING THE NOTIFICATION OF HIS NOMINATION FOR THE PRESIDENCY (US 1904). Cinematographer: A. C. Abadie. PC: Edison Manufacturing Company. Filmed: 10.8.1904, Esopus, NY. © 15.8.1904. DCP (from 16 mm), 1"47" (transferred at 16 fps); titles: ENG. – AA: Alton B. Parker gives a speech. Visual quality: low contrast, duped. A VISIT TO THEODORE ROOSEVELT AT HIS HOME (US 1912). Cinematographer: ?. PC: Pathé Frères. Filmed: 8.1912, Oyster Bay, Long Island. Feat: Theodore Roosevelt, Archibald Bulloch “Archie”Roosevelt (son), William P. Helm (Associated Press correspondent). DCP (from 35 mm), 7"09" (transferred at 18 fps); titles: ENG. – AA: Visiting the Sagamore Hill. Theodore Roosevelt works on his porch, cares for his horse Sidar, and his three hound dogs, and chops down trees. We have a need for pioneer virtues. There is a big crowd when Teddy speaks. A watchable visual quality although with a duped and low contrast look. ROOSEVELT (US 1912) excerpt: [THEODORE ROOSEVELT AT FARGO, ND]. Cinematographer: Richard J. Cummins. PC: H. A. Spanuth, J. W. Strouse, General Film Publicity & Sales Company. Filmed: 9.1912. Rel: 5.10.1912 (première: Carnegie Hall, New York City). Fragment, DCP (from 35 mm, 350 ft), 4"23" (transferred at 20 fps); titles: ENG. – AA: Teddy gives a speech from the train. A big crowd. A montage of speeches. A fascinating atlas of faces among the listeners. The pianist is inspired. Look: duped, low contrast. THE OLD WAY AND THE NEW (US 1912). Cinematographer: ?. PC: Universal Film Manufacturing Company. Dist: Film Classic Exchange. DCP (from 16 mm), 9"41" (transferred at 20 fps); titles: ENG. – AA: A crude political caricature on the adversaries, T. Roosevelt and Taft. Election advertisement for Woodrow Wilson. PATHE NEWS NO. 46: [REPUBLICANS AND PROGRESSIVES MEET] (US 1916). PC: Pathé Frères. DCP (from 35 mm), 1"02" (transferred at 20 fps); titles: ENG. – AA: A view from the Republican convention. There is a close-up of Warren G. Harding. High contrast. [PRESIDENTS HARDING AND COOLIDGE], excerpt from WARREN GAMALIEL HARDING (US 1920). Cinematographer: Lawrence J. Darmour. PC: Commercial Publicity Film Company. Filmed: 07-08.1920 (Marion, Ohio; Northampton, MA; Plymouth, VT; Washington, D.C.). Sponsor: Republican National Committee. Feat: Warren G. Harding (Ohio Senator), Florence Harding (wife), Dr. Tryon Harding (father), Calvin Coolidge (Governor of Massachusetts), Will H. Hays (Chairman, Republican National Committee), Henry Cabot Lodge (Massachusetts Senator), Edward P. Morrow (Governor of Kentucky), John Calvin Coolidge, Sr. (father). DCP (from 16 mm,), 8"17" (transferred at 20 fps); titles: ENG. – AA: Meeting Warren G. Harding in his hometown Marion, Ohio. Will H. Hays is among the speakers. There is a huge crowd. Watchable although with a duped look, low contrast, and overspeed.

Franklin D. Roosevelt delivering his famous nomination speech for Alfred E. Smith, calling him the happy warrior, LoC. [DEMOCRATIC NATIONAL CONVENTION, NEW YORK CITY, 1924] (US 1924). PC: International News Reel Corporation. Filmed: 25-26.6.1924 et passim, Madison Square Garden, NYC. Feat: Tom Walsh (Senator from Montana, convention chairman), Franklin Delano Roosevelt, John W. Davis, Ellen Graham Davis, Charles W. Bryan. DCP (from 16 mm), 2"39" (transferred at 22 fps); titles: ENG. – AA: The Democratic National Convention in New York. Skyscrepers. Epic crowds.

Warren G. Harding and Calvin Coolidge. Photo: Library of Congress. PRESIDENT COOLIDGE – TAKEN ON THE WHITE HOUSE GROUNDS (US 1924). P: Theodore W. Case, De Forest Phonofilm. Filmed: 14-15.8.1924, Washington, D.C. Rel: 21.9.1924 (première: Rivoli Theater, NYC). DCP (from 35 mm), 4"30" (transferred at 24 fps), sd.; dial: ENG. – AA: A long take on President Calvin Coolidge reading from his notes. The sound is missing on the DCP. Ok visual quality, contrast on the low side. AA: An invaluable survey covering almost twenty years with a comprehensive selection on U.S. Presidential film footage during the silent age. Pretty boring regarding cinematic flair and visual quality but invaluable from the viewpoints of political and cultural history. An excellent new book has been published relevant to the theme: Charles Musser: Politicking and Emergent Media. US Presidential Elections of the 1890s. 274 p. Oakland: University of California Press, 2016.

Interlude (1957)

Salzburgin rakastavaiset / Sista ackordet / September-intermezzo. US © 1957 Universal Pictures Co., Inc. PC: Universal International Pictures Co., Inc. P: Ross Hunter. D: Douglas Sirk. SC: Daniel Fuchs, Franklin Coen – adaptation: Inez Cocke – based on the screenplay When Tomorrow Comes (1939) by Dwight Taylor – based on the unpublished story ”A Modern Cinderella” by James M. Cain. DP: William H. Daniels – Technicolor – CinemaScope 2,35:1. AD: Alexander Golitzen, Robert Emmet Smith / Robert E. Smith. Cost: Jay A. Morley, Jr. Makeup: Bud Westmore. M: Frank Skinner. M dir: Joseph Gershenson. Flute: Ethmer Roten. Song: “Interlude” (comp. Frank Skinner, lyr. Paul Francis Webster) perf. The McQuire Sisters. Music: Symphony no. 41 in C (Jupiter Symphony, KV 551), Symphony no. 36 in C (Linzer Symphony, KV 425) and other selections by W. A. Mozart; Symphony no. 1 in C Minor, op. 68 by Johannes Brahms; Symphony no. 3 in E flat (Eroica Symphony ) and Piano Sonata no. 2 in C-sharp Minor ("Moonlight Sonata") by Ludwig von Beethoven; Symphony no. 4 in D Minor by Robert Schumann; The overture from the opera Tannhauser by Richard Wagner; Consolation No. 3 by Franz Liszt. S: Leslie I. Carey – mono (Westrex Recording System). ED: Russell F. Schoengarth. Technicolor consultant: William Fritzsche. Rossano Brazzi"s piano performances and advisor: Wolfgang Edward Rebner. Shot entirely on location in Munich, Germany at the Hercules Hall, Konigsplatz, Bernried Castle, Schleissheim Castle, Starnberger See and Amerika Haus (built in 1935 as the Nazi party headquarters), and in Salzburg, Austria at Geburthaus, Mozart’s birthplace. Interiors were shot at the Geiselgasteig Studios in Munich. C: June Allyson (Helen Banning), Rossano Brazzi (Tonio Fischer), Marianne Koch / Marianne Cook (Reni Fischer), Françoise Rosay (Countess Irena Reinhart), Keith Andes (Dr. Morley Dwyer), Frances Bergen (Gertrude Kirk), Lisa Helwig (housekeeper), Herman Schwedt (Henig), Anthony Tripoli (Dr. Smith), John Stein (Dr. Stein), Jane Wyatt (Prue Stubbins). Helsinki premiere: 27.9.1957 Elysee, distributor: Oy Filmiseppo – tv: 4.10.1992 TV3 – VET 47293 – K12 – 2450 m / 90 min A previous film adaptation: Huomispäivä on meidän... (When Tomorrow Comes, US 1939), D: John M. Stahl, C: Irene Dunne, Charles Boyer. A 35 mm print, dansk tekst, viewed at Cinema Orion, Helsinki (Douglas Sirk), 27 Sep 2016. Interlude is a well made entertainment film with good production values. Main assets include beautiful location shooting in sunny Munich, Bavaria, and Salzburg. That asset is so strong that the film has travelogue value. Another asset is the magnificent score with symphonical works by Mozart, Schumann, Brahms, Beethoven, and Wagner, and solo piano works by Liszt and Beethoven. The story follows the classical narrative formula true to convention, even including the final demand: "Take me home". The performances are professional. Interlude is the coming of age story of Helen Banning, and June Allyson plays her role of "an American abroad" well ("I"m an ordinary girl"). There are two rivals to Helen"s attentions. Unfortunately, the male performances are uninspired. Rossano Brazzi is stiff as the conductor Tonio Fischer, and so is Keith Andes as the doctor Morley Dwyer. Douglas Sirk belongs to the directors who can elicit interesting performances from wooden actors, but here he was not inspired enough. Richard Brody has written that in Interlude Sirk takes the opportunity to film music itself, and it is true that there is real passion in the sequences where music is being played. Brody singles out the interesting camera movement at the Munich Concert Hall where Schumann is being played, and he compares the approach with Straub and Huillet. Memorable are also the solo piano sequences where Tonio plays Liszt"s Consolation and Beethoven"s Moonlight Sonata to his wife whose face we see reflected on the lid of the grand piano. All music in Interlude is meaningful. Interlude is a sunshine film with one storm sequence: when Tonio takes Helen to picnic a thunderstorm breaks out, and they take shelter in Tonio"s summer house across the lake. Storms are important turning-points in Sirk"s films (Summer Storm). The inevitable happens, but Tonio has not told Helen that he is married. Next morning Helen is surprised to meet Reni, Ms. Tonio Fischer. Marianne Koch"s performance as the mentally unbalanced Toni is subtle and convincing. "Don"t take him away from me" is Toni"s plea to Helen. Françoise Rosay, the veteran of the opera, the stage and the screen who had started before WWI (including in Les Vampires) and who was Mrs. Jacques Feyder, offers a performance of gravity as Countess Irena Reinhart, Reni"s aunt. "Be selfish", is Irena"s surprising advice to Helen. "There is no Reni anymore". Sirk has taken good care of the psychologically most delicate dimension of the story, but there is not enough passion in the main triangle itself. The visually most powerful scene is Reni"s suicide attempt. It has been foreshadowed by a sunny sequence at Lake Starnberg historically known as the site where the dead body of Ludwig II of Bavaria was found. We see Reni"s empty bed, the wind blowing in the curtains of the open window, and Reni wandering like a ghost towards the lake at night. Helen rescues her in the nick of time and is almost dragged to the lake herself by Reni. An enjoyable print with a pleasantly saturated Technicolor look. OUR PROGRAM NOTE BASED ON RICHARD BRODY beyond the jump break: OUR PROGRAM NOTE BASED ON RICHARD BRODY beyond the jump break: Hollywoodin suuresta melodramaatikoista Douglas Sirk oli se, joka toi lajiin filosofista itsetietoisuutta. Onni päättyy huomenna (1955), yksi hänen parhaista elokuvistaan, oli kauan unohduksissa, kunnes se julkaistiin dvd:llä. Toinen unohdettu elokuva, Salzburgin rakastavaiset, on täynnä samaa haltioitunutta voimaa. Sen Sirk kuvasi kotimaassaan Saksassa, josta hän oli lähtenyt maanpakoon 20 vuotta aiemmin. Väljästi James M. Cainin aiheeseen perustuva tarina kertoo amerikkalaisesta Helen Banningista (June Allyson), joka saapuu Müncheniin työskennelläkseen yhdysvaltalaisen kulttuurivaihdon parissa Amerika Hausissa. Perheystävä kutsuu hänet treffeille ja ihastuu häneen, mutta työtehtäviinsä liittyen Helen kohtaa kuuluisan kapellimestarin Tonio Fischerin (Rossano Brazzi), joka on jo naimisissa – yksityiskohta, jota mies ei huomaa mainita. Tonion vaimo Reni (Marianne Koch) on mielisairas, kuten asia elokuvassa ilmaistaan. Reni on vaipunut syvään masennukseen ja elää lääkärien valvonnassa perheen lähellä sijaitsevassa linnassa. Tonio syyttää vaimonsa tilasta itseään, mutta lääkärit kehottavat häntä luopumaan syyllisyydentunteesta ja elämään. Kuvaan ilmestyvä Helen rakastuu Tonioon kiihkeästi, ja suhde, jonka piti olla vain episodi, muuttuu intohimoksi ja mahdottomaksi uneksi. Sirkin suurten melodraamojen emotionaalinen voima ja suuri taiteellinen draama juontuu täysin ohjauksesta. Tämän elokuvan todellinen aihe on Saksa, jossa Sirk ei ollut filmannut 1930-luvun jälkeen. Hän katselee maata katkeransuloisen hellyyden vallassa kuin pettynyt rakastaja, joka on selviytynyt erosta ja näkee ensi kertaa vuosikymmeniin millainen raunioitunut olento palaa näkyviin kuntoutuksesta. Kaupungin kasvot, ympäröivä vihreys, mahtava kartano, Salzburgin nähtävyydet ja kuninkaallisen kohtaamisen mahtavan koristeelliset puitteet tulevat osanottajiksi kulttuurien yhteentörmäyksen eskaloituvassa kriisissä. Taiteella on tärkeä sija monessa Sirkin tärkeimmistä elokuvista. Salzburgin rakastavaisissa hän tekee jotakin vieläkin rohkeampaa ja onnistuu siinä nerokkaasti. Tonion ammatin kautta Sirk saa tilaisuuden filmata musiikkia itseään. Münchenin konserttitalolla Helen näkee Tonion johtavan Schumannin neljättä sinfoniaa. Sirk ohjaa kohtauksen kuin filmattavana olisi sinfonia itse, kuin se olisi mahtava mobileveistos, joka täyttää konserttisalin. Kohtaus on hämmästyttävän pitkä, ja kuvat ja ääni nousevat kirkkaasti ja intohimoisesti esiin kuin Sirk ohjaisi suurta näyttelijää lähikuvassa. Merkittävää kyllä tämä on Helenille ensimmäinen kohtaaminen suuren musiikin – ja Tonion – kanssa. Hänen taiteellinen heräämisensä on samalla eroottinen herääminen. Myöhemmin Sirk tekee saman Wagnerin Tannhäuseralkusoitolle, Brahmsin ensimmäiselle sinfonialle ja Mozartin linziläiselle sinfonialle. Viipyilevä, hyväilevä ote, jolla Sirk kuvaa Salzburgin konserttitalon kauniita kuvioita tuo mieleen Straubin ja Huillet’n Anna Magdalena Bachin kronikan. Elokuvassa tulee esiin näkökohta, että sota pelasti Saksan omalta itseltään, samoin kuin Helen pelastaa itsetuhoisen Renin pahimmalta. Helen kuvailee itseään myöhemmin lauseella, jonka voisi kaivertaa amerikkalaiseen sotamuistomerkkiin: ”Halusin uskotella, etten ollut nähnyt mitään – että voisin antaa hänen tehdä mitä hän haluaa”. Salzburgin rakastavaiset on filosofinen matkakuvaus, allegorinen romanssi ja mahtava sinfoninen kulttuurihistoriallinen näky. Se on yksi Sirkin tiheimmistä ja hurjimmista elokuvista. Kun toiminnan dramaturgia ja ohjauksen huolenpito yksityiskohdista sulautuvat yhteen, tuloksena on teräviä oivalluksia. Salzburgin rakastavaiset on korkealla uudelleenlöytämisen ansaitsevien elokuvan mestariteosten listalla. – Richard Brody (Douglas Sirk’s “Interlude,” a Hidden Masterwork, The New Yorker, 12.2.2013) AA 27.9.2016 SYNOPSIS FROM AFI CATALOG: "When naive American Helen Banning arrives in Munich, Germany, hoping to have an adventure and see the world, she meets Prue Stubbins, her excitable new boss at the American cultural agency called Amerika Haus. Soon afterward, Helen is courted by American doctor Morley Dwyer, a friend of her family’s, and although she begins to date Morley, she warns him that she is not in Germany to find romance. As part of her first assignment, to help facilitate an orchestral concert sponsored by Amerika Haus, Helen accompanies Prue to the rehearsal, where they are asked to leave by the temperamental conductor, Tonio "Tony" Fischer. When Tony then receives a message and rushes out, Prue insists that Helen follow him to ensure that he will perform at the concert. Helen visits his home, the estate of Countess Irena Reinhart, where Tony is behind closed doors, playing the piano for his wife Reni. Tony comes to the door and brusquely informs Helen that the concert will go on as scheduled. After she leaves, a noted psychiatrist informs Tony that Reni cannot be cured, and urges him not to blame himself but to go on living without her. At the hugely successful concert that night, Prue instructs Helen to watch from the wings, where she tries to avoid Tony. He seeks her out, however, to apologize for his previous behavior, and after he offers to drive her home, she finds herself drawn to his sophistication and good looks. The next day, Helen attends a party at the Nymphenburg Palace, where Tony spots her and insists that she accompany him on a day trip to Salzburg, Austria. Impressed by her simplicity and optimism, Tony is delighted with Helen, and takes her on a whirlwind tour of the beautiful city. A few weeks later, Helen is dating both Morley and Tony, prompting her American friend, Gertrude Kirk to warn her to be careful of European men. Ignoring the advice, Helen cancels a date with Morley to attend Tony’s concert, but once there, she hears that he is leaving for Stockholm soon, and later tearfully asks him why he wants to spend time with such an ordinary girl. His reply, that she is important to him and he is leaving for only two weeks, cheers her. Before he leaves town, he takes her on a picnic, but a summer storm forces them to take shelter in his nearby summer house. Although she nervously avoids his advances, when he pulls her into his arms, she responds passionately. Hours later, Tony starts to tell Helen that he is married, but stops himself, afraid that she will cut off their affair. When she insists on returning to his house with him, he acquiesces, and there she sees Reni for the first time. Reni dreamily recounts dancing with her husband, but suddenly grows suspicious of Helen and bolts out the door. Helen, furious, turns to leave, but Tony begs her to stay until Reni is calmed, and Irena explains to Helen that Reni has been mentally ill for years and is completely dependent on Tony. Weeks later, Morley visits a depressed Helen, who has not left her house since learning about Reni. He invites her to a dance, and on the walk home, proposes to her. She replies that she is not the virtuous girl he thinks she is, but Morley has guessed about her affair, and tells her that she is fine and decent and does not belong in Europe. Visiting him at the hospital the next day, she is impressed to see how respected and competent he appears, but as they leave together, she sees Tony in the hallway and he explains that Reni has had a breakdown. Helen is stirred by seeing him again and visits his rehearsal, where he tries to turn her away, but finally falls into her arms. Morley is waiting for her when she returns home, and reveals that he is leaving the next day, but that it is not too late for her to go with him. Helen is resolute that she must stay to help Tony, earning even more of Morley’s admiration. That night, Helen is watching Tony’s concert from the wings when she is pulled into the cloakroom by Reni, who has snuck out of the house. First enraged, then in tears, the ill woman begs Helen not to take Tony away from her. Helen escorts her home, where Irena urges Helen to forget about Reni, who is only a shell of who she used to be, and to give Tony the love he needs. Helen calls Morley, however, and then, finding Reni gone from her room, chases after her across the lawn towards the lake. Reni plunges into the water, hoping to die, but Helen rescues her. After Reni is sedated, Helen confesses to Tony that for a moment she fantasized about Reni’s death, and that she cannot live that way. She insists that what he loves in her is only what he has lost in Reni, and finally he agrees that they cannot be together. Helen says a tearful goodbye and then escapes to Morley’s waiting car, asking him to take her home to America." (SYNOPSIS FROM AFI CATALOG)

Out 1 (2015 digitally restored edition)

Out 1. Colin (Jean-Pierre Léaud). Out 1: Noli me tangere. FR 1971. General theatrical release: 2015. PC: Sunchild Productions. Co-production: Les Films du Losange. Distribution (2015): Carlotta Films. P: Stéphane Tchalgadjieff, Danièle Gégauff, Gérard Vaugeois. D: Jacques Rivette. Assistant directors: Suzanne Schiffman, Jean-François Stévenin. SC: Jacques Rivette, Suzanne Schiffman. DP: Pierre-William Glenn; assistant camera: Dominique Chapuis – negative: 16 mm – colour and b&w – 1,37 or 1,66 – digitally restored: 2015 – release: 35 mm or 2K DCP. S: René-Jean Bouyer; boom operator: Michel Laurent; sound mixer: Bernard Aubouy – mono. ED: Nicole Lubtschansky, Carole Marquand. Continuity: Lydie Mahias. Loc: Pariisi. C: Michèle Moretti (Lili), Hermine Karagheuz (Marie), Karen Puig (Elaine), Pierre Baillot (Quentin), Marcel Bozonnet (Nicolas / Arsenal / Papa / Théo), JeanPierre Léaud (Colin), Michel Lonsdale (Thomas), Sylvain Corthay (Achille), Edwine Moatti (Béatrice), Bernadette Onfroy (Bergamotte), Monique Clément (Faune), Juliet Berto (Frédérique), Gérard Martin (un faux célibataire), Gilette Barbier (la logeuse de Colin), Jean Pierre Bastid, Urbain Dia Mokouri and Jacques Prayer (trois truands), Michel Berto (Honeymoon), Michel Delahaye (un ethnologue), Bernard Eisenschitz (un pornographe), Pierre Cottrell (un pornographe), André Julien (le brocanteur), Brigitte Roüan (Miss Blandish), Françoise Fabian (Lucie), Éric Rohmer (le balzacien), Christian de Tillière (le noctambule), Christiane Corthay (Rose), Patrick Hec (Léonard), Bulle Ogier (Pauline / Emilie), René Biaggi (Chaussette), Barbet Schroeder (Gian-Reto), Jean-François Stévenin (Marlon), Bernadette Lafont (Sarah), Marc Chapiteau (a football player), Alain Libolt (Renaud), Jérôme Richard (Martin), Jacques Doniol-Valcroze (Étienne), Ode Bitton (Iris), Jean Bouise (Warok), Louis Julien (Max), Marie-Paule André (une amie de Nicolas), Mathieu Schiffman (un jeune garçon ), Lorraine Santoni (une demoiselle à lunettes), Michèle Khan (la minette), Stéphane Tchalgadjieff (an envoy of Lorenzo), Michel Chanderli (a villain), Guillaume Schiffman (the child in the empty boutique), Jean-Claude Valezy (a villain). Not released in Finland – workprint 1971: 760 min – release version: 749 min = 12 h 29 min 1 - De Lili à Thomas (86") 2 - De Thomas à Frédérique (104") 3 - De Frédérique à Sarah (105") 4 - De Sarah à Colin (103") 5 - De Colin à Pauline (87") 6 - De Pauline à Émilie (98") 7 - De Émilie à Lucie (95") 8 - De Lucie à Marie (71") 2K DCP with English subtitles viewed at Cinema Orion, Helsinki (Jacques Rivette in memoriam / Carte blanche à Satu Laaksonen), during four days (in two screenings each at 17 and 19 pm): 12 Sep, 13 Sep, 14 Sep, and 15 Sep, 2016.

Out 1. Thomas (Michel Lonsdale) travels to Normandy to invite Sarah (Bernadette Lafont) to join his theater group rehearsing Prometheus Bound by Aeschylus.

Out 1. The Balzac specialist (Eric Rohmer) gives a lecture to Colin about Histoire des Treize.

Out 1. Behind Moulin Rouge Frédérique (Juliet Berto) tries to blackmail Lucie (Françoise Fabian) with letters stolen from her husband Etienne.

Out 1. The last adventure of Frédérique.

Out 1. The last image of the movie. Marie (Hermine Karagheuz) in front of a Greek goddess (Athena?) in Paris. Still trying to find Renaud who stole a million francs from Quentin in their theatre group rehearsal of Seven Against Thebes. I saw for the first time the complete 12½ hour Out 1. I had seen in the 1980s the much shorter Out 1: Spectre version at Arsenal in West Berlin. I do not remember that version clearly, but I find Jonathan Rosenbaum"s claim plausible: the long version is much easier to watch. There are the two theater groups, both rehearsing a play by Aeschylus (Seven Against Thebes and Prometheus Bound), one led by Lili (Michèle Moretti) and the other by Thomas (Michel Lonsdale). There are also two outcasts. Colin (Jean-Pierre Léaud) is a beggar, pretending to be deaf and harassing café patrons with his out-of-tune harmonica until they pay to get rid of him. Frédérique (Juliet Berto) is a small time thief. A central location is L"Angle du hasard, a boutique owned by a woman (Bulle Ogier) called Emilie at home and Pauline at the boutique. There are many hangerson but the boutique does not seem to make sense as a business. Apparently Emilie is well off and able to run the boutique nevertheless. Another central location is the Obade, the seaside retreat of Emilie and her husband Igor (unseen, lost since half a year, but announcing his return at the finale) in Normandy by the Atlantic Ocean. The outsiders, Colin and Frédérique, independently start to assemble a jigsaw puzzle of a conspiracy of "The Thirteen", based on vague references to Honoré de Balzac and Lewis Carroll (which give clues to Colin) and stolen letters (Frédérique"s evidence). They are laughed out, but in the finale it turns out that such a secret society has indeed existed, although it has not been a matter of gravity. Members of The Thirteen include Emilie and Igor (unseen), Etienne (Jacques DoniolValcroze) and Lucie (Françoise Fabian), Georges (unseen), Lili, Marie (Hermine Karagheuz), Pierre (unseen), Sarah (Bernadette Lafont), Thomas, and Warok (Jean Bouise). In the finale it turns out that the two theater groups once were one. Colin turns truly crazy, but, cured of his conspiracy theories, regains his sanity. Meanwhile, Frédérique the small time thief gets involved with a big time thief, Renaud (Alain Libolt) who has stolen a million francs from Quentin (Pierre Baillot) of the Seven Against Thebes group and who is the object of love of a friend of Frédérique, a forlorn gay man called Honeymoon. When Renaud is about to participate in armed robbery Frédérique tries to warn him but gets shot by Renaud. Out 1 belongs to the large format films of Jacques Rivette and to the great tradition of French film serials. There is a nominal plot structure in Out 1, but it has aptly been called un film-fleuve. It starts and ends abruptly, and could go on forever. Out 1 is about many things, and one of them is the stream of contemporary life. The eccentric story gives us an excuse to observe urban life in Paris, the contrast to which is provided by the timeless sky and ocean in Normandy. Although Out 1 is based on improvisation the cinematography by Pierre-William Glenn is excellent and professional. The mise-en-scène conducted via the long take and moving camera approach is engaging. An exciting feature of the Louis Feuillade serials was that they were shot on location, and the combination of the documentary quality of the photography and the crazy and fantastic character of the narrative was something that fascinated surrealists. A similar combination is at play in Out 1. Out 1 is a vision of a great confusion, of being lost, and trying to make sense of life via ancient plays. With Aeschylus we return to the very beginning of classic drama. Seven Against Thebes is about the fight between the children of Oedipus. Prometheus Bound is about the hero who stole the fire from heaven. The theatre group rehearsals have aspects of primal therapy and meditation, starting with breathing; in a way they are about being born again, rediscovering body and soul. There is a sense that the rehearsal is the thing and actual performance is unimportant. Delights of the film include long passages of improvisation of the wonderful ensemble of actors and the intensity of presence caught by the plan-séquence approach of Rivette, entire sequences shot in uninterrupted takes. A recurrent pleasure in Out 1 is meeting as actors great men of the cinema, such as Michel Delahaye, Bernard Eisenschitz, and Barbet Schroeder. Jacques DoniolValcroze is excellent as the chess player Etienne who turns out to be the husband of Lucie (Françoise Fabian). My favourite is Eric Rohmer as the Balzacist who gives Colin a humoristic lecture on the novel triptych Histoire des Treize. A beautiful achievement of digital restoration. The warm and appealing quality of the 16 mm colour photography is well conveyed in this digital reincarnation. OUR PROGRAM NOTE BASED ON JONATHAN ROSENBAUM: OUR PROGRAM NOTE BASED ON JONATHAN ROSENBAUM: Keväällä 1970 Jacques Rivette kuvasi 16 mm:n filmille runsaan kolmen tusinan näyttelijän improvisaatioharjoituksia noin 30 tunnin verran. Massiivisesta ja rannattomasta aineistosta syntyi kaksi elokuvaa, jotka järisyttävät perinteistä elokuvakokemusta juuria myöten. Out 1, joka kestää 12 tuntia ja 29 minuuttia, on jäsennetty kahdeksanosaiseksi sarjafilmiksi, alkuperäiseltä alaotsikoltaan Noli me tangere [”älä koske minua”, Jeesuksen sanat Magdalan Marialle ylösnousemuksensa jälkeen]. Se tehtiin Ranskan televisiolle, joka kieltäytyi esittämästä sitä, ja se esitettiin julkisesti vain kerran – Le Havressa 9.–10.9.1971 – ja silloinkin vain työkopiona. 28 vuotta myöhemmin Rotterdamin elokuvajuhlilla 1989 esitettiin jossakin määrin uudelleenleikattu mutta muuten lähes viimeistelty kopio. 1990-luvun alussa Rivetten ilmeisesti vielä jossakin määrin enemmän uudelleenleikkaama versio nähtiin joillakin elokuvafestivaaleilla ja Ranskan ja Saksan televisiossa. Siitä oli mm. poistettu viimeisen episodin pitkä Jean-Pierre Léaud -jakso. Out 1: Spectre (kestoltaan 255 minuuttia eli noin kolmannes alkuperäisestä sarjafilmistä), jota Rivette työsti vajaan vuoden ajan, tuli ensi-iltaan Pariisissa vuoden 1974 alkupuolella. Jäsentävä periaate on salajuoni, salaliitto, joka juontaa juurensa Honoré de Balzacin romaanisikermästä Histoire des Treize [1833–1839; sikermän kolmesta pienoisromaanista on suomennettu Ferragus eli Salaliittolaisten päällikkö]. 13 yksilöä, jotka edustavat ranskalaisen yhteiskunnan eri sektoreita, muodostaa salaisen allianssin valtansa lujittamiseksi. Rivette loi tietoisesti kritiikin en-simmäisen pitkän elokuvansa Paris nous appartient [1958/1961] konspiratorisesta ajanhengestä, ja tätä periaatetta noudattaen hän törmäytti näyttelijöitään. Kaikkia kannustettiin improvisoimaan ja kehittelemään henkilöhahmojaan suhteessa pääintrigiin. Käsikirjoituspohjana olivat vain ohjaajakumppani Suzanne Schiffmanin valmistelutyöt erillisiin kohtaamisiin ja Rivetten kirjoittamat kolme salakielistä viestiä. Paradoksaalista kyllä, jos katsoja kestää teatteriharjoitusten suhteellisen ikävystyttävyyden, Out 1 saattaa olla Rivetten elokuvista helpoimmin omaksuttava ja viihdyttävä, poikkeuksena mahdollisesti Céline et Julie vont en bateau. Toista maata on Out 1: Spectre, joka lienee Rivetten vaikein elokuva. Huomattakoon, että toistuvilla katsomiskerroilla elokuvien Out 1 ja Spectre ”juonet” eivät muutu sen selvemmiksi, kylläkin niiden formaalinen jäsennys. Analogia Ornette Colemanin Free Jazz -albumiin on valaiseva. Whitney Balliett kirjoittaa, että Free Jazz aiheuttaa korvasärkyä ensi kerralla, toisella kerralla kakofonia hellittää ja kompleksiset balanssit ja vastabalanssit alkavat vaikuttaa. Kolmannella kerralla esiin tulee kerros kerrokselta miellyttäviä rakenteita – rytmisiä, melodisia, kontrapunktisia, tonaalisia. Neljännellä ja viidennellä kerralla kuuntelija ui kevyesti mukana kolmen metrin syvyydessä ja hengittää musiikkia kuin ilmaa. Out 1 -elokuvaa sanelevat pinnalta katsoen vastakkaisten ”näyttelemistyylien” yhteensovittamiset, yhdistelmät ja yhteentörmäykset. Tekstuurien jänneväli yltää Jean-Pierre Léaudin (Colin) ja Juliet Berton (Frédérique) puhtaasti kinemaattisista taidoista Françoise Fabianin (Lucie) teatteritekniikkaan; Michel Lonsdalen (Thomas) ja Michele Morettin (Lili) suhteellisesta hermostuneisuudesta Jacques Doniol-Valcrozen (Etienne) ja Jean Bouisen (Warok) suhteelliseen tyyneyteen; Bulle Ogierin (Pauline / Emilie) pidättyväisyydestä Bernadette Lafontin (Sarah) suulauteen. Kaikkein radikaaleinta on oletus, että ”kaikki” mitä näyttelijä tekee on mielenkiintoista, mikä käytännössä kumoaa totunnaisen ajatuksen, että voidaan erottaa toisistaan ”hyvät” ja ”huonot” osasuoritukset, mikä perustuu aina vakiintuneeseen käsitykseen siitä, mikä on todellista. Molemmat Out 1 -elokuvat ovat aluksi kertovinaan neljä erillistä tarinaa, joskin pitkän version voi ehkä sanoa esittelevän neljää vuorottelevaa dokumenttiaineistoa, joilla ei ole kerronnallista yhteyttä toisiinsa. Seuraamme kahta teatteriryhmää, jotka harjoittelevat Aiskhyloksen nimissä tunnettuja näytelmiä – Seitsemän Thebaa vastaan (jota ohjaa Lili) ja Kahlehdittu Prometheus (jota ohjaa Thomas). Tarkkailemme myös Colinia ja Frédériqueta, kahta hieman hullua ja outoa erakkoa, jotka yrittävät anastaa rahaa tuntemattomilta kahviloissa. Kuin ihmeen kaupalla, kun yli kaksi tuntia on kulunut sarjafilmin alusta, kaksi neljästä ”juonesta” liittyy yhteen: Colinille antaa äkkiä paperinpalan Marie (Hermine Karagheuz), Lilin teatteriryhmän jäsen. Siinä on ilmeisesti salakielinen viesti, ja sitä seuraa kaksi muutakin viestiä, joihin liittyy viit-tauksia Lewis Carrollin nonsenserunoon Hainan metsästys ja Balzaciin; jälkimmäistä selvittelee tyylikkäässä cameoroolissa Eric Rohmer. Colinin päätelmien johdatettua hänet hippiliikkeeseen nimeltä L’Angle du hasard ”juoni” tihenee. Putiikin omistaja Pauline osoittautuu Thomasin ja Lilin ystäväksi; kaikki saattavat olla ”13”-salaliiton jäseniä. Samanaikaisesti Frédérique, neljännen tarinan edustaja, varastaa kirjeita Etiennen asunnolta (Etienne ja hänen vaimonsa Lucie kuuluvat myös ”13”ryhmään) mahdollisesti kiristystarkoituksessa. Peruukki päässä Frédérique järjestää tapaamisen Lucien kanssa. Kun hän ei onnistu saamaan rahaa Lucielta hän yrittää samaa Paulinen puodissa. Tässä kohtaamisessa kaikki neljä ”juonta” viimeinkin yhdistyvät. Ainoan kerran Frédériquen ja Colinin tiet kohtaavat, ja katsojasta voi tuntua siltä, että hän alkaa päästä kaaoksesta. Mutta juuri kun neljää juonta on vihdoinkin punottu yhteen niitä aletaan purkaa uudelleen, ja lopussa olemme yhtä suuressa pi-mennossa kuin alussakin. Siinä missä folie à deux [symbioottinen psykoosi] on keskeinen Rivetten elokuvissa L’Amour fou ja Céline et Julie vont en bateau on epäonnistunut folie à deux Out 1 -elokuvien ydinaineistoa. Ky-vyttömyys luoda yhteyttä liittyy oleellisesti kyvyttömyyteen ylläpitää fiktiota. Epäonnistuminen ilmenee riipaisevimmin Ogierin ja Léaudin suhteessa, joka alkaa keskinäisestä kiintymyksestä ja päättyy vieraantumiseen. Kaikista ”kaksin keksinnöistä” heidän suhteensa on rikkain muuttuvine jännitteineen, ja kasvavaa välirikkoa korostaa loistavasti tapa, joilla heidän kohtauksensa on asemoitu myymälässä – erityisesti, kun he ovat eri huoneissa valkokankaan vastakkaisilla puolilla ja kumpikin tavoittelee huomiotamme omalla tavallaan. Tilan jännite huipentuu heidän viimeisessä yhteisessä kohtauksessaan kadulla, jossa Ogier irtautuu miehestä rajusti, ja Léaud ilmentää pantomiimillaan näkymätöntä muuria heidän välillään olemalla työntävinään sitä epätoivoisesti. Viimein hän poistuu kuvaruudusta vinosuuntaan soittaen huuliharpullaan epäsointuista valittavaa ääntä. Jonathan Rosenbaum: ”Miksi valitsitte elokuvalle nimen Out?” Jacques Rivette: ”Koska emme keksineet nimeä. Sillä ei ole mitään merkitystä. Se on pelkkä nimilappu”. Formaalisesti pitkää Out 1 -sarjafilmiä voi kutsua bazinilaiseksi ja renoirmaiseksi, koska siinä suo-sitaan pitkää otosta ja syvätarkkaa mise-en-scèneä montaasin sijasta. Sen sijaan aggressiivisesti leikattu, pilkottu ja langilainen Spectre on siihen dialektisessa suhteessa. Sarjafilmiversiossa lähestymistapa johtaa eräänlaiseen parodiseen yhteenvetoon bazinilaisesta realismista – rouchmaiseen pseudodokumenttiin, joka on upotettu fantasiaan – jonka voi ajatella pikemminkin horjuttavan kuin kuvittavan Bazinin teoriaa. Yksittäisenä teoksena tai kahtena versiona samasta teoksesta Out 1 on minusta suurin elokuva, mitä meillä on 1960-luvun vastakulttuurista. Toisin kuin missään amerikkalaisessa tai eurooppalaisessa vastineessaan Out 1:ssä ei käsitellä hallusinogeenisiä huumeita (vaikka siinä onkin joitakin huikean kirkkaita, psykedeelisiä värejä). Näkemys aikakaudesta, johon kytkeytyy pettymys toukokuun 1968 vallankumouksen epäonnistumisesta, heijastaa ranskalaista ajanhenkeä. Nähtynä eeppisenä pohdiskeluna vastakulttuurin utooppisista unelmista sellaisina kuin ne ilmenivät Atlantin molemmilla puolin Out 1 on mittaamattoman arvokas koetinkivi, varsinkin niiden havaintojen ansiosta, joita se esittelee kollektiivisuuden ja eristyneisyyden välisistä vaihtoehdoista, mikä oli Rivetten varhaisten elokuvien perusteema. Out 1 on lähes kokonaisuudessaan luettavissa pohdiskeluna erilaisten kollektiivisten hankkeiden (teatteriharjoitukset, salaliitot, erilaiset vastakulttuuriset aktiviteetit, manifestit) ja yksinäisyydestä ja vieraantuneisuudesta nousevien tilanteiden (arvoitusten ratkaiseminen, juonittelu, lopulta hulluus) välisestä dialektiikasta – juuri nämä olivat jossakin määrin ranskalaisen vasemmiston vaihtoehtoja 1960-luvun lopulla. – Otteita Jonathan Rosenbaumin tekstistä Out 1 and Its Double (www.jonathanrosenbaum.net 18.3.2016, kirjoitettu Carlottan Out 1 -dvd / bluray -boksia varten) AA 12.9.2016 – Rivetten mukaan elokuvan nimi lausutaan: ”out un”.

Magnificent Obsession (1954)

Lääkärin omatunto / En läkares samvete / Den store læge. US © 1954 Universal Pictures. PC: Universal International Pictures. P: Ross Hunter. D: Douglas Sirk. SC: Robert Blees – adaptation: Wells Root – based upon the screenplay (1935) by: Sarah Y. Mason and Victor Heerman – uncredited: Finley Peter Dunne – based on the novel (1929) by Lloyd C. Douglas. DP: Russell Metty – Technicolor – 2.00:1. Special photography: David S. Horlsey. AD: Bernard Herzbrun, Emrich Nicholson. Set dec: Russell A. Gausman, Ruby R. Levitt. Gowns: Bill Thomas. Hair: Joan St. Oegger. Makeup: Bud Westmore. M: Frank Skinner. M dir: Joseph Gershenson. Flute: Ethmer Roten. S: Leslie I. Carey, Corson Jowett. ED: Milton Carruth. Technicolor consultant: William Fritzsche. Loc: Big Bear Valley, Lake Arrowhead (San Bernardino National Forest, California), Venice (Los Angeles). Studio: Universal Studios (Universal City). C: Jane Wyman (Helen Phillips), Rock Hudson (Bob Merrick), Barbara Rush (Joyce Phillips), Agnes Moorehead (Nancy Ashford), Otto Kruger (Edward Randolph), Gregg Palmer (Tom Masterson), Sara Shane (Valerie Daniels), Paul Cavanaugh (Dr. Henry Giraud), Judy Nugent (Judy), George Lynn (Williams, Bob"s butler), Richard H Cutting (Dr. Derwin Dodge), Will J. White (State Police Sergeant Bill Ames), Helen Kleeb (Mrs. Eden), Rudolph Anders (Dr. Albert Fuss), Fred Numey (Dr. Laradetti), John Mylong (Dr. Emil Hofer), Alexander Campbell (Dr. Allan), Mae Clarke (Mrs. Miller). Helsinki premiere: 7.10.1955 Elysee – telecast: 1968 TV1, 1992 TV3, 2000 Yle TV1, and 4.6.2006 Yle TV2. VET 42860 – K16 – 2980 m / 108 min Uncredited: a major music theme is: Frédéric Chopin: Étude Op. 10, No. 3, in E major (1832), also called "Tristesse" (though not by Chopin). Viewed at Cinema Orion, Helsinki (Douglas Sirk), dansk tekst, 10 Sep 2016. Revisited Douglas Sirk"s wildest and craziest melodrama. He took the story for granted; today I see no irony or distanciation in the adaptation. On the contrary, Douglas Sirk becomes the champion of the story against all odds. Perhaps this is a post-modern reading. More to the point, Douglas Sirk was ahead of his time. He lets the material speak for itself and is excited to discover what emerges. Far from realism and far from psychological credibility Sirk creates a unique stylized mode of melodrama with affinities with Greek tragedy (Euripides) and a Brechtian approach to popular fiction. That does not prevent the film from being engaging and engrossing. There is an emotional truth beyond the unconvincing psychology, the incredible coincidences and the miraculous healings. In some dimension the storytelling is reminiscent of Borzage: the miraculous healing of the blindness in Seventh Heaven, or the paralysis in Lucky Star. Also in Borzage we find plots impossible to believe, yet are compelled by the conviction of the storyteller. This a story of a passion, of mad love. The irresponsible playboy Bob Merrick (Rock Hudson) tries to pick up the woman, Helen Phillips (Jane Wyman), who gives him a ride without knowing that she is the widow of the doctor loved by everybody who died because the rescue crew was busy resuscitating the reckless speedboat driver Bob while the doctor was dying. The revelation is a turning-point for Bob who realizes that he is despised by everybody and now changes his life, studies to become a top doctor himself, and in the finale rescues Helen who has lost her eyesight in a car collision trying to escape Bob. More than this, Bob becomes a part of a special spiritual circle devoted to good deeds performed under conditions of anonymity and the principle of "paying it forward". That is the magnificent obsession of his life and this story. In fact, it is another expression for Christian faith. In the finale I was thinking about City Lights, the comedy which turns to tragedy. These are among the last words in Magnificent Obsession: "But I think I see some light... I"m gonna see... I can see you". "May I get excited tomorrow. Tomorrow... " There is a beautiful and juicy impression of Technicolor in the print officially meant to be screened in 2:1 but which works fine also in Academy. Only in the very final moments the colour is partially faded. OUR PROGRAM NOTE BASED ON SAKARI TOIVIAINEN: OUR PROGRAM NOTE BASED ON SAKARI TOIVIAINEN: Lloyd C. Douglasin lääkäriromaani ajaa eräänlaista synkretismin ideologiaa, puoliksi uskonnollista oppia uhrautumisen ja epäitsekkyyden hyveestä, ”rajattoman voiman lähteestä”. Tätä tarkoittaa alkuperäisen nimen ”suurenmoinen pakkomielle”, joka valtaa miespäähenkilön, vastuuttoman rikkaan playboyn, joka aiheutettuaan välillisesti suuren hyväntekijän kuoleman ja tämän vaimon sokeutumisen kasvaa itse arvostetuksi lääkäriksi ja lesken rakkauden arvoiseksi. Beethovenin oodi ilolle säestää voitokkaasti sekä sairas- että rakkauskertomuksen onnellista päätöstä. Kertomansa mukaan Sirk ei yksinkertaisesti pystynyt lukemaan Douglasin romaania loppuun eikä nähnyt elokuvan mahdollisuuksia alkuteoksen ylenmääräisissä abstraktioissa: uusi sovitus tehtiin lähinnä Stahlin elokuvan (1935) käsikirjoituksen pohjalta. Muokkaustyön jälkeenkin Sirk piti tarinaa ”irrationaalisena”, ”hulluna”, ”pakkomielteisenä”, mutta paljolti juuri siksi hän tunsi siihen vetoa ja näki siinä suuren ironian mahdollisuuksia, ”ei ironia-sanan tavanomaisessa mielessä, vaan rakenteellisena aineksena”. ”Se on yhdistelmä hulluutta ja roskaa”, hän luonnehti aihetta. ”Mutta hulluus on hyvin tärkeää, ja se pelastaa Lääkärin omatunnon tapaisen roska-aineiston. Tätä on dialektiikka – hyvin lyhyt välimatka erottaa korkean taiteen roskasta, ja juuri sisältäessään tuon hulluuden elementin roska on lähempänä taidetta.” Niinpä aihe Sirkin käsittelyssä tulee melodramatisoiduksi ikään kuin toiseen potenssiin. Sirkin elokuva ei yritä vaimentaa tarinan mahdottomuuksia, vaan suhtautuu siihen lähinnä kuin rituaaliin: tuo esiin sen romanttiset puolet, ulkoisen kauneuden, esteettisen objektin luonteen, korostaa juonen kohtalonomaisia käänteitä ja yhteensattumia, siis päästää melodraaman kukkimaan liioittelun kautta, sekä tarinan että sen ilmaisun tasolla. Lääkärin omatunto oli Sirkin ensimmäinen värillinen melodraama, ja juuri värien kuten myös tilan käytön kautta elokuva saavuttaa virityksen, jota lukutavasta riippuen voi pitää joko ”etäännyttävänä” (Sirkin itsensä julkituoma tavoite) tai sisäistettynä komposition elementtinä, mielihyvän ja täyteyden lähteenä. Visuaalisen yltäkylläisyyden vastapainona on naispäähenkilön sokeus, jolla on oma ”melodramaattinen funktionsa” korkeampien voimien välikappaleena, joka ensin estää, sitten toteuttaa täyttymuksen. Martin Rubinin mukaan Sirk kuvaa ”metaforisesti sokeita henkilöitä, jotka kompuroivat ympäriinsä pettävien silmälumeiden peilimaailmassa, joka on Platonin luolan nykyaikainen vastine”. Tällöin sokeus on metafora melodraaman ihmisten tilalle, kyvyttömyydelle nähdä maailma selkeästi, lukea moraalista universumia. Nämä ihmiset näkevät vain varjoja, unikuvia, peilejä, joiden perusteella he tekevät päätelmiä todellisuudesta ja hapuilevat tietään kohti jotakin mitä amerikkalaisessa ja melodramaattisessa kielenkäytössä sanotaan ”onneksi”. – Sakari Toiviainen (1992)

Hymyilevä mies / The Happiest Day in the Life of Olli Mäki

Den lyckligaste dagen i Olli Mäkis liv. FI © 2016 Elokuvayhtiö Aamu. Co-production companies: Tre Vänner, One Two Films, Film Väst. P: Jussi Rantamäki. D: Juho Kuosmanen. SC: Juho Kuosmanen, Mikko Myllylahti. DP: J-P Passi – 16 mm (Kodak Tri-X) reversal film – b&w – 1,85:1 – released in 2K DCP. AD: Kari Kankaanpää. M: Miika Snåre, Laura Airola, Joonas Haavisto. Cost: Sari Suominen. Makeup: Salla Kaarina Yli-Luopa. S: Pietu Korhonen - Dolby Digital 5.1. ED: Jussi Rautaniemi. C: Jarkko Lahti (Olli Mäki), Oona Airola (Raija Jänkä), Eero Milonoff (Elis Ask), Joanna Haartti (Laila Ask), John Bosco, Jr. (Davey Moore), Esko Barquero (Snadi), Elma Milonoff (Evi), Leimu Leisti (Tuula), Hilma Milonoff (Anneli). 93 min Released in Finland by B-Plan Distribution. International sales: Les Films du Losange. 2K DCP with English subtitles by Aretta Vähälä from B-Plan Distribution. Introduced by Mia Vainikainen, Mickael Suominen, Manna Katajisto, Anna Möttölä. Press screening at Cinema Orion (Espoo Ciné press screening), 2 Aug 2016 Boxing films have a distinguished history from some of the earliest films from Thomas A. Edison to the present day. We remember Keaton (Battling Butler), Hitchcock (The Ring), Wyler (Shakedown), Lloyd (The Milky Way), Mamoulian (Golden Boy), Walsh (Gentleman Jim), Rossen (Body and Soul), Wise (The SetUp, Somebody Up There Likes Me), Huston (Fat City), Hill (Hard Times), Stallone (the Rocky series), Scorsese (Raging Bull), Sheridan (The Boxer), great Muhammad Ali films (When We Were Kings), several Clint Eastwood films (Million Dollar Baby), and Tarantino (one of the stories in Pulp Fiction). All this is well-known to the director Juho Kuosmanen, and all this is blithely ignored by him in his saga of the biggest boxing event ever in Finland. Hymyilevä mies [The Smiling Man] is not a film based on other boxing films. It emanates an authentic sense of being both on the proudly provincial home turf Kokkola of Olli Mäki and his girlfriend, and in Helsinki, the capital of the country, no less provincial although there may be a pretense otherwise. The Helsinki Olympic Stadion, filled to 23.000, was the stage for the professional boxing match as Olli Mäki fought Davey Moore for the World Featherweight Title in August 1962. He was beaten in two rounds. The mystery of Mäki"s blatant loss is the subject of the film. Olli Mäki (born 1936 in Kokkola) was the most talented boxer in the history of Finland. He was a favourite for the 1960 Summer Olympics in Rome, but he was removed from the Olympic team by the Finns for political reasons because Mäki refused to resign from TUL, the Finnish Worker"s Sports Federation. Juho Kuosmanen"s approach is humoristic. We have a big strategy – and a total failure. How could this be? Olli Mäki is in great shape when he lands in the hands of the manager Elis Ask, himself a former boxing champion. Strategic mistakes are made. Olli Mäki is booked for the fight at too short a notice. As a professional he has only ten fights under his belt where his opponent Davey Moore has more than sixty. Mäki needs to lose seven kilograms weight in a month, to fight in a series of 57 kg which is not his comfort zone. "61 kg would have been just right". (Mäki had won medals in the category of 60 kg and would be at his best later at under 63,5 kg). Mäki fights although he has no chance to win. Although the sport event is professional, Elis Ask"s handling of it is amateurish. He invites Olli Mäki to stay at his home but is evicted by his wife who throws him to the street with their children and Olli Mäki. Ask is efficient in finding sponsors but that requires a lot of PR energy from Olli Mäki who is fundamentally incapable of handling the PR circus. Let"s put it this way: Olli Mäki is the diametric opposite of Cassius Clay / Muhammad Ali who thrived in publicity. The fuss with Ask"s ineptitude and the PR buzz distracts Olli Mäki seriously. He is never discouraged but he may start to be unconsciously giving up, no longer one hundred per cent focused on the fight. The simple way to explain the mystery of Olli Mäki"s defeat: bad management. But then there is the most crucial thing: Mäki falls in love during the training period and is terminally distracted. Jarkko Lahti and Oona Airola convey the budding romance charmingly. Their love is so great that it makes Olli Mäki feel hardly anything when he suffers the crushing loss at the biggest boxing fight in the history of Finland. He becomes a stranger in his own fight thanks to the wheeling and dealing of Elis Ask. Simultaneously he finds his true self, his perfect happiness in the company of Raija. "The easiest fight of my life", is Olli Mäki"s baffling comment. "I did not have time to feel anything, it went so fast". The love theme is introduced in the most direct manner in a wedding sequence in the beginning of the movie. We hear the wedding ceremony at the church ("but the greatest of these is love") and hear Friiti Ojala"s "Wedding Waltz" sung by Oona Airola as Raija to the words of Wiljami Niittykoski ("Nuoruus onnen aika armahin on elon tiellä ihmisen"), different from the Tuula Valkama lyrics famous from the Tapio Rautavaara interpretation. The stirring musical performance is by the Mäkipelimannit and Ykspihlajan Kino-orkesteri bands. I happened to see during the same week Hymyilevä mies [The Smiling Man] and The Quiet Man, two stories of love stronger than boxing. And two stories about proudly original provinces: Kokkola and Innisfree. But the film that comes to my mind from Hymyilevä mies, rather than all those great boxing sagas, is Walt Disney"s Ferdinand the Bull. Embarrasing everybody, Olli Mäki is almost apologetic towards the adversary whom he has to fight, and he is always ready with a bunch of flowers for him. The visual look of the movie, although digital, comes from cinematography conducted on black and white Kodak Tri-X 16 mm reversal film designed predominantly for newsreels. There is a harsh actuality look in the movie. PS. 15 Aug 2016. I have revised a credit thanks to comments to the blog. FROM THE PRESS KIT: FROM THE PRESS KIT: Lopputekstit Olli Mäki Jarkko Lahti Raija Jänkä Oona Airola Elis Ask Eero Milonoff Laila Ask Joanna Haartti Snadi Esko Barquero Evi Elma Milonoff Tuula Leimu Leisti Anneli Hilma Milonoff Nyrkkeilijät Olli Rahkonen Joonas Saartamo Henrik Palosaari SamPeter Hirvikangas Antti Naakka Niklas Hyvärinen Kulmamiehet Sauli Helenius Jussi Lohijoki Dokumenttiohjaaja Ilkka Ilkare Dokumenttikuvaaja Jarmo Kiuru Rikas mies Petri Hytönen Toimittajat Tom Liljemark Heikki Metsämäki Juha Mäkinen AkuPetteri Pahkamäki Henri Walter Rehnström Davey Moore John Bosco jr. Mooren valmentaja Terry Laitala Mooren manageri Shamuel Benyik Amerikkalainen nyrkkeilijä Deogracias Masomi (ryhmittelyväli ei pakollinen) Raijan isä Tuomas Airola Raijan äiti Tiina Weckström Raijan veli Aaro Airola Raijan sisko Anna Airola Pappi Martti Nykänen Miehet kirkossa Timo Virolainen Tomi Salonen Tuomo Kemppainen Nainen kirkossa Lea HotariHopia Morsian Emilia Leväniemi Sulhanen Anton Kuosmanen Morsiamen isä Leo Käkelä Pelimannit häissä Mäkipelimannit Lapset ikkunan luona Arma Karvonen Jalo Kuosmanen Toivo Kuosmanen Viljami Lahti Laila Niemonen Nuoret uimassa Joona Korpi Topi Martinoff Eeva Mäkinen (ryhmittelyväli ei pakollinen) Malli Nelly Nilsson Valokuvaaja Marco Melander Puvustaja valokuvaamossa Saara Salmi Pianisti ravintolassa Claes Andersson Johtaja ravintolassa Mika Melender Tarjoilija ravintolassa Eija Leinonen MissSuomi lentokentällä Pia Andersson Vedenneidot Iiris Anttila Satu Järvi Niina Vornanen Reetta Koskinen Emilia Jansson Kampaaja Salla YliLuopa Myyjä asemalla Kikka Rytkönen Lääkäri Carl Lybäck Harjoitusvastus Jesse Jouhki Konduktööri Sakari K. Salo Lääkäri Seppo Salminen Toimitsija Tuukka Koistinen Myyjä korukaupassa Elli Rintala Nyrkkeilijät ottelussa Henrik Palosaari Isto Voutilainen Tuomari Erkki Meronen Orkesteri juhlissa Ykspihlajan kinoorkesteri Mies ja nainen satamassa Olli ja Raija Mäki Käsikirjoitus Mikko Myllylahti, Juho Kuosmanen Ohjaus Juho Kuosmanen Tuottaja Jussi Rantamäki / Elokuvayhtiö Aamu Yhteistuottajat Jamila Wenske, Sol Bondy / One Two Films Nicklas Wikström Nicastro / Tre Vänner Produktioner Simon Perry, Katarina Krave / Film Väst Kuvaus JP Passi Lavastus Kari Kankaanpää Pukusuunnittelu Sari Suominen Maskeeraussuunnittelu Salla YliLuopa Leikkaus Jussi Rautaniemi Äänisuunnittelu Pietu Korhonen Sävellys Miika Snåre Laura Airola Joonas Haavisto Käsikirjoituskonsultti Franz Rodenkirchen Dramaturgi Auli Mantila Linjatuottaja Martti Tervo Valaisija Sami Kuokkanen Apulaisohjaaja Vera Airaksinen2. Apulaisohjaajat Anastasia Lobkovski, Emilia Haukka Kameraassistentti Elina Eränen2. Kameraassistentti Janina Witkowski Dokumenttimateriaalin kuvaus Jarmo Kiuru, Juho Kuosmanen Apulaislavastaja Tytti TiriRekvisitööri Ville Grönroos Rekvisitöörin assistentti Jussi Laitinen Rekvisiittavalmistus Laura Malinen Lavastemestari Taina Ollikkala Erikoisrakennus Joonas Eränen, Tomi Sopanen Metallityöt Jouni Kuusimäki Puuseppä Pohjanmaa Juhani H ietaniemi Lavastuksen graafikko Kalle Kervinen, Outi Kallio Roolitus Anastasia LobkovskiRoolittajan assistentti Kaisa Astikainen Järjestäjä KeskiPohjanmaallaKari Kinnunen Järjestäjä Helsingissä Kimi Seppänen Järjestäjän assistentit Matti Sipiläinen, Timo Jyllikoski Catering Karoliina Korhonen Runner Tuomas Haukka Puvustaja Maaret NikkinenPuvustusassistetti Perhossa Tiina Louhula Puvustusassistentti Helsingissä Jenny Villikka Ompelija Minna Kiiskinen Nyrkkeilyvarusteiden tuunausKatriina Heimonen Patinointi Sari Suominen Maskeeraaja Eija HakkarainenMaskeerausassistentit Saara Räisänen, Nora Pippingskjöld, Maia Hirvonen Jarkon peruukit Ari Haapaniemi Äänittäjä Pietu KorhonenPuomi Svante Colerus Ääniassistentti Ville Katajala Best Boy Manu HaapalaValomiehet Henri Jurvanen, Kenneth Wennström, Aki Laulajainen Stillvalokuvaus Sami Kuokkanen / Kuokkasen Kuvaamo Apulaistuottaja Anna Lo Westlin / Tre Vänner ProduktionerTuontantokoordinaattori Emilia Haukka Leikkausassistentti Noora Kuparinen Miksaus Peter AlbrechtsenDialogi ja foley esimikaus Niklas Skarp Äänileikkaajat Pietu Korhonen, Erik Bjerknes Foley artisti Heikki Kossi Foleyäänitys Pietu Korhonen, Kari Vähäkuopus Äänitehosteäänitys Mikkel Nielsen, Asbj ørn Derdau Äänistudiot H5 Film Sound, Cloudberry Post Foleystudio H5 Film Sound ADR studio Boomout Oy Miksausstudio Nordisk Film Shortcut / Steffen Addington Mäkipelimannit Viulu Aarne Järvelä Viulu Arto Salo Viulu Ilkka Salo Viulu Mauno Järvelä Harmooni Timo Valo Basso Tony Uusitalo Ykspihlajan kino-orkesteri Trumpetti ja laulu Miia Reko Harmonikka Laura Airola Kitara Tuomas Asanti Kitara Miika Snåre Basso Reetta Kuisma Rummut ja lyömäsoittimet Antti Lehtinen Taustalaulut Anna Airola, Laura Airola ja Oona Airola Piano Joonas Haavisto Musiikin äänitysstudio Artlab Studio Äänitys ja miksaus Ville Liukkonen Ääniassistentti Tuomas Skopa Studioapulaiset Eeli Kuosmanen, Jalo Kuosmanen Laboratorio Andec Filmtechnik Filmisiirrot Studio L’equipe Jälkituotanto ChimneyJälkituotantopäällikkö Susanne Kujala Jälkituotannon tuottaja Jon Mankell Värimäärittely Mats Holmgren Konformointi Felicia Semitjov VFX työnjohtaja Fredrik Nord VFX artistit Mats Forsberg Linus Lindblom Jonas Lindfors Evelina Åström Ragnar Grudd Simon Backlund Digitaaliset siirrot Chimney Gothenburg DCP masterointi Jakub Sokołowski Digitaalinen koordinaattori Andreas Hylander Graafinen suunnittelu Atte Karttunen Juliste Tiina Aaltonen Englanninkielinen tekstitys Aretta Vähälä Englanninkielisen käännöksen oikolukija Rich Lyons Ruotsinkielinen tekstitys Saga Vera Oy / Michaela Palmberg Ruotsinkielisen käännöksen oikolukija Saga Vera Oy / Jenna Harjuniemi Ranskankielinen käännös Irmeli Debarle Yritysyhteistyö Matti SipiläinenKirjanpitäjä Rantalainen Oy / Pirjo Harmainen Tilintarkastaja Audit Polar / Risto Ekholm Miksaus Nordisk Film Shortcut Audio Kuvauskalusto P. Mutasen Elokuvakonepaja Oy Valokalusto Angel Films Äänikalusto SoundeFilm NFTF projektineuvoja Torleif Hauge Films du Losagne Bérénice Vincent Marine Goulois Lise Zipci Jules Chevalier Angelo säv. Miika Snåre, san. Laura Airola sov. Ykspihlajan kinoorkesteri Häävalssi säv Friiti Ojala san Viljami Niittykoski Warner/Chappell Music Finland You must be Olli? säv. Miika Snåre sov. Ykspihlajan kino-orkesteri Vedenneito säv. sov. Laura Airola Toast säv. sov. Joonas Haavisto Kiitos kaikille avustajille Kiitokset Raija ja Olli Mäki Kokkolan kaupunki Perhon Kehitysyhtiö Oy Suomen Kulttuurirahaston KeskiPohjanmaan rahasto KeskiPohjanmaan liitto Pekka Mäki Pertti Augustin Ilmo Lounasheimo (19202014) Pekka Kokkonen (19342016) Erkki Jänkä Elis Ask jr. Anneli Auvinen Jan Forsström JP Valkeapää Leena Kemppi Amra Baksic Camo Adis Djapo Laurin Federlein Atom Egoyan Mico Uimonen Pirkko Nissi Jaakko Kemppainen Anniina Kemppainen VeliMatti Ersta Nea Ersta Jooa Ersta Pertti Sipiläinen Ville Leväniemi Ahti Leväniemi Jukka Andersson Elina Partanen Juha Liimatainen Riitta Liimatainen Jouni Kuusimäki Timo Lahtinen Laura Haapakangas Pekka Uotila Tarja Hägg ja Heli Hyytiä Ella Karttunen Mikko Esseli Micke Nyström Jesse Valo Janne Malischevskji Antti Annanpalo Amer Bektesevic Senja Suoknuuti Mika Ailasmäki Anthony Muir Mark Lwoff Misha Jaari Antti Savilampi Antti Vehkalampi Matti Kalliokoski Maria Kuosmanen Riitta Ryhtä Jyri Harju Pasi Rannila Juha Sahlgren Raija Sahlgren Markku Sahipakka Sanna Ukskoski Tuula ja Markku Jänkä Kalevi Rytioja Reijo Tamminen Aki Lepistö Ari Laajala Raimo Leväniemi Saralampi Anita Hannunen Leena Känsäkangas Pauliina Savolainen Clare Downs Tuomo Seiterä Jami Määttälä Timo Roiha Mika Jutila Folke Store Kai Venetjoki Risto Ekdahl Alpo Finnilä Kimmo Nygård Tuomo Ruotsala Greger Brännström Riikka Rantamäki Eero Viitala Esko Tikkakoski Kari Urho Seija Sivula Eijariina Vartiainen Ykspihlajan Reima Kokkolan kaupunginteatteri Kouvolan teatteri Lahden kaupunginteatteri Teatteri Viirus Sankariliiga KeskiPohjanmaan maaja kotitalousnaiset Vaihtoehtoviikonloppu / Antti Saarinen Poikkilaakson alaasteen 34. luokka Nostoville Oy / Ville Känsälä Kokkolan energia Möttösen näytelmäpiiri / Kari Viitala Eläkeliiton Halsuan yhdistys ry / Ritva Jylhä Ykspihlajan Työväennäyttämö Kokkolan Jymy / Pirjo Urpilainen Halsuan seurakunta Kokkolan Merisaukot / Timo Sillanpää Kuljetusliike Thoden Oy Kokkolan varaosakeskus / Classic Park Kokkolan vpk Perhon sopimuspalokunta Kokkolan kaupungin tekninen osasto Kokkolan Jäähalli / Juha Rekilä JAS Tekniikka Oy / Erkki Virkelä Suomen Nyrkkeilymuseo Teatterimuseo / Heikki Suomi Hermes Huolto / Jorma Herlevi Edustus Hermes Kokkola Autoliike Nysted / Matias Brännström Terra Kokkola / Mika Peltola James Post Oy / Pasi Mäkelä Whitepoint Oy / Jussi Myllyniemi P. Mutasen Elokuvakonepaja / Tuomas Viitakoski Valofirma Cine Light Rental Oy Taiteen edistämiskeskus Tosikuva Oy / Jarkko Översti ja Paula Osenius Atelier O. Haapala / Marco Melander ja Saara Salmi KPO / VeliMatti Haarala Kokkolan Kaupunki / Kaija Jestoi Kokkolan liikuntapalvelut / Sami Keiski ja Lotta Nyqvist Sokos Hotels Kaarle Kokkola / Jaki Silvennoinen ja Tina Nyberg DCYhdistys ry The Happiest Day in the Life of Olli Mäki has been made with the support of the Cinéfondation of the Festival de Cannes. Torino Film Lab logo Tuotantotuki Suomen Elokuvasäätiö / Marjo Valve Nordisk Film & TV Fond / Petri Kemppinen Yhteistyössä Yle / Erkki Astala Saarländischer Rundfunk / Christian Bauer ARTE / Barbara Häbe Levitys BPlan Distribution Oy / Helena Mielonen, Peter Toiviainen Kansainvälinen myynti Les Films du Losange Suomen Elokuvasäätiö logo Nordisk Film & TV Fond –logo YLE –logo Arte SR logo Suomen kulttuurirahaston logo Taiteen edistämiskeskus logo Kokkolan kaupungin logo Perhon logo Keskipohjanmaan kirjapaino logo Keskipohjanmaan liiton logo Keskipohjanmaan liikunnan logo One Two Films logo Film i Väst –logo Tre Vänner Produktioner logo Elokuvayhtiö oy Aamu ab logo Copyright 2016

DIRECTOR’S STATEMENT The basic mood in THE HAPPIEST DAY IN THE LIFE OF OLLI MÄKI is light. Although it’s a story about an existential crisis and finding oneself, it is crucial to the narrative that we don’t wallow in the mud but instead, fly like a kite. The prosperity of my graduation film, THE PAINTING SELLERS, put me in a rather distressing situation. After it had won the 1st prize in the Cinéfondation selection of Cannes Film Festival and I was promised, as part of the prize, that my first feature film would have its international premiere in the official selection of Cannes Film Festival. I was regarded as a “promising young director” in Finland. I remember sitting at my writing desk, mumbling and thinking about what exactly I had promised and whom. Of course, I also found it very flattering, but as the time went by, I started to feel more anxious about the fact that there were people out there, people I did not even know, expecting me to do things that I was not prepared to do. I had burdened myself with the idea of meeting the expectations, which I had started to feel under my skin. I was able to reason that the burden of keeping the customers satisfied was merely in my own head, but still, the truth was that my creativity and capacity to get excited about filmmaking had hit bottom. The idea for THE HAPPIEST DAY IN THE LIFE OF OLLI MÄKI came along as a solace to this distressing situation. The film is inspired by a true story, and Olli Mäki is still a well-known Finnish boxer today. At the very beginning of his professional career, Olli got the chance to fight against the ruling featherweight world champion at the time, the American Davey Moore. And then, in front of a packed stadium, he lost the match humiliatingly in the second round. Later on Olli Mäki would say it was the best day of his life. IN CONVERSATION WITH JUHO KUOSMANEN When did you learn of the story of Olli Mäki’s championship bout and the romance he began with Raija while he trained for it? What made you want to make a film about it? It was 2011, and I met Olli and Raija in Kokkola. Olli has severe Alzheimer’s disease now, but he still remembers his old stories. He told me about this championship fight back in 1962, and when he ended his story by saying: “It was the happiest day of my life,” he had this smile on his face that forced me to ask incredulously “How come?” That’s when he told me about buying the engagement rings together with Raija that same day. Nice story I thought, but a bit too classic to be told again. But as the weeks passed, Olli’s story stayed on my mind. Why did he buy those rings on that same day? I didn’t know much about boxing myself, but it was still obvious to me that if you’re preparing for a world championship fight, you should be 100% dedicated to the fight. Buying your engagement rings the very same day seemed like something that would be totally forbidden. Then, as I started to dig deeper into Olli’s story, I realised that it was full of beautiful details and complexity which lifted it from the average into something unique. Art is in the details, I’ve heard. I soon realised that Olli’s story was not only about losing the fight and winning in love. In fact it wasn’t about winning or losing at all, but about finding your own way to happiness regardless of outside expectations. The fight and Olli’s participation was in a sense a clash of worldviews - a small town communist from Finland under pressure to become a star in the American show business machine. In the popular imagination, is Olli Mäki seen as a national hero or a national failure? If he’s not a national hero, he’s at least a working class hero. Generally speaking he is definitely considered to be one of the best boxers to ever come out of Finland. After his defeat to Davey Moore, Olli Mäki continued boxing until 1973, won the European Championship in 1964 so he had good fights and left a legacy that partly wiped away the memory of this great loss in 1962 in the national consciousness. There are some people who say that Olli Mäki wasn’t ambitious enough and didn’t have the right personality to ever become a great boxer, that he was too kind of a person and too much of a ‘good guy.’ One example of what led to that reputation is Olli never wanting to knock out his opponents. He thought there was no reason to if the fight already seemed to be won So sometimes the same things that make you a better person aren’t the ones that will take you to the top of your sport. What is your relationship to the real Olli Mäki now, and was he involved in the film? We’ve met a few times with Olli and Raija since. Unfortunately Olli is quite seriously ill, enough that he’s not fully aware of the film. Raija is such a beautiful person, and she has been a great help for us. They visited a few times during the shoot, and they are actually seen in the film, in the very last shot. The real Olli and Raija pass our characters, and then our fictional Raija asks “-Do you think we’ll become like them? -You mean old? -Yes, and happy. -Of course we will”, says Olli, played by Jarkko Lahti. How did you put the cast together, and were there any specific techniques you used on set? Casting is for me the core of directors’ work. We did a huge casting for this film, but finally, for the three main characters, we ended up using the ones I had in mind from the beginning. I think this group has the same kind of dynamic as the people in the film, or at least it was very easy to see them becoming that way. Eero Milonoff, (as Elis Ask, Olli Mäki’s trainer) is a well-known Finnish actor. I didn’t know him personally before this film, but I’m very happy we worked together. He’s from Helsinki, and more experienced than Oona or Jarkko, who play Raija and Olli. Eero is an extremely dedicated actor, he would phone me about twice a day and want to talk about this and that. And when we were in the final days of location scouting, he was there hanging out with us all the time. Eero is smart enough to understand that the time you spend with the crew also helps you to do your job well later on. It’s not just about rehearsing your own part. Little by little you also get to know what kind of humour or worldview is behind the camera, and it’s easier to serve it when you know it. Oona Airola (Raija Jänkä) is starring in her first film role. She has a great sense of humour and she’s a very charismatic performer. She used to sell tickets at the box office for theatre, and I think she was more interesting than the plays that they had there. Oona did a huge amount of work to achieve the kind of presence that makes it feel like she’s not acting at all. Too often in film reviews male performances are considered as a result of dedication and hard work, and female performances are perceived as a gift of nature, that the actresses are not doing anything, they just happen to have a nice presence. But I can assure you, that Oona’s role was built up with intelligence and hard work. It wasn’t easy for her to have such a natural presence as a first timer, but she did a great job. Jarkko Lahti (Olli Mäki) has been acting a lot in the theatre, but this is his first big role in a feature film. Jarkko is from Kokkola, the same place as Olli Mäki. He is also, like Oona and Eero, a very dedicated actor. He started boxing as soon as I told him that I was considering making a film about Olli Mäki and he could be in it. He had two amateur fights on top of that, and during the shoot he lost a lot of weight. It’s of course very important to have these experiences when preparing this kind of very physical role, but I think just as important as losing weight is the ability to lose the shield separating you and the camera. When you’re on stage your position as an actor is different, you can control the whole stage, but in film it’s the opposite. Jarkko had a few years of preparation for this role, and I think he prepared it perfectly. Jarkko and I are from the same street, and we used to walk to school together. Once I threw a snowball at him and he hit me in the head with a metal bike pump. 20 years later I asked him to play a role in my short film The Citizens, and it included a scene where he has to get into a fight with a much bigger guy. And a few more years after that, I asked him to play this role as boxer who gets beaten up. So I think I’ve now taken my revenge. It’s a film that’s very character based. We started by developing the mise en scène with the actors, and then we thought about the motives and possibilities for moving the camera and changing something if necessary. We shot the scenes using long takes, from the beginning to the end and a bit more, and we did that few times with different lenses. We don’t usually do pick-ups at all. And we don’t worry too much about mistakes, it’s essential that you don’t work in fear of mistakes, otherwise you end up making boring decisions. I don’t have strong directions for the actors, it’s more about tuning the mood on the whole set in the right direction. By losing a bit of the controlled side, you get nice details and surprises and it helps to keep the scene alive. Why and at what point did you decide to shoot the film, set in 1962, in black and white and on 16 mm? Two months before the shoot. We tested a lot of different materials, film and digital, but it was this one, Kodak Tri-X, that had the right texture. It’s black and white reversal, very characteristic material. It was not just the way it looks, but the way it feels. Everything shot on this film takes on an early sixties vibe. After looking at the tests, it was an easy decision. We felt that with this material, the film would take the audience back to the sixties, and we wouldn’t need to underline the period with close-ups of characteristic objects, cars or hairdos on the set. We had to order all the stock there was in Europe, then everything they had in the States, and then Kodak had to produce some more. I think it’s not meant to be a film stock for feature films. It was used in the news in the 60’s and 70’s. Why make the actual championship fight, and boxing overall, occupy such a small space in the film? We wanted to concentrate on the things that are hidden. The film is more about the backstage than the stage. I wanted to show Boxing just as part of everyday life, and not hold it above into as something symbolic or greater than the other scenes. That goes hand in hand with what the film is about. And also, when you know that Rocky 7 is being made at the same time, you can be sure that they are going to focus on the fight scenes, so you’re free to focus on the eye contact and the kite flying scenes. I watched many, many boxing films, and some of them almost made me want to change the subject of my movie, but there were good ones too. Together with my cinematographer we watched cinema vérité classics from the 60’s, and those pretty much became our visual reference. Do you think the film business at times resembles the one of professional boxing? Definitely. The more money you need, the more hands you need to shake. I think one of the reasons there are so many boxing films is that the two resemble each other. Of course boxing is a very cinematic sport, but as a director it’s also easy to put yourself in the shoes of the protagonist. In the end you’re alone in the ring and there is always the possibility of getting badly beaten. It’s impossible to direct something you don’t understand. And I don’t know that much about boxing, but it was easy for me to understand our protagonist in the situations he was in. I’ve been there myself, shaking hands and promising things that I shouldn’t promise. In my personal view, this film is as much about filmmaking as it is about boxing. I felt that with this kind of a setup, it would be easy to work through the same emotions that I was going through as a filmmaker. And I could take a wider shot and gently smile at my own existential crisis. But that’s just my personal view, it’s not something encrypted in the film that the audience is supposed to find out. I hope everybody has their own reflections. Your film vividly recreates the feel of the early 60’s, but over the nostalgia, there is a modern vibrancy and point of view. How did you navigate between period piece and contemporary filmmaking? I never wanted to make a period piece, and we weren’t tempted by nostalgia too much. The idea was always to make a contemporary film that feels like an old film. The film stock was a great help. We could rely on it feeling like the sixties without having to point it out too much ourselves. We shot as much as possible on location, and the fun fair was our only studio scene. Production design, costume design and make-up were all authentic 60’s, but we were very careful not to underline anything too much. The extras were dressed closer to actual sixties style, and our main characters were a bit more timeless. Once the set was ready and cameras were rolling, we were shooting a contemporary film. Our references were more documentary than fiction. Did Olli Mäki interest you as a figure who doesn’t neatly fit into the macho stereotype of a boxer? Contradictions are always interesting. Joyce Carol Oates wrote in her essays On Boxing, that “Boxing is a celebration of the lost religion of masculinity all the more trenchant for its being lost.” We played with this fact quite a lot. I liked the idea that they have the wrong main character in the documentary they are making in the film. It’s funny that they are trying to make a traditional boxing hero out of this small, sensitive man who is uncomfortable being filmed. A lot of the comedy comes out of this ‘wrong man in the wrong place’ situation, and it was fun to play with the usual image of a boxer in opposition to Olli’s private emotions. Olli is a character who was perfect for that. It was also challenging to write a main character who really just wants to be left alone. But in the end, we are not following how Olli is going to change, but instead hoping that he will remain as he is. In your eyes, what can the film and the story of Olli Mäki tell us about today’s life, culture, or society? It’s always good to stop thinking that what counts is the end goal. We are surrounded by advertisements promoting success, but first we should find out what we’re talking about when we talk about success. I think that things that were exceptional in the sixties have now become everyday issues. The urge to attain ‘success’, to get publicity and issues around people’s public image aren’t things that are reserved just for celebrities these days. We are living in very competitive world. At least in Finland people seem to be very concerned about what other people think, and it’s always in the headlines if we’ve done well in whatever statistics. Competition is essential in sports, I love it, but when it becomes the everyday, it’s destroying the beauty of life.

HÄÄVALSSI (san. Wiljami Niittykoski) Nuoruus onnen aika armahin on elon tiellä ihmisen. Aika keväisten toiveiden raikkaiden riemujen ja kaipuu unelmien. Kerran täyttyy toiveet sydämen ja rinnan kaipuu tyyntyy pois, kun askel käy luo vihkialttarin ja häävalssi kiehtoen soi. Nyt soikaa viulut soikaa laulut viirit hulmahtakaa, kun soutaa nuorta elon purtta kaksi onnelan valkamaan ja kansa kaikki juhlivasti yhtyin häätunnelmaan ja heille kauniin onnen elämän rikkaan käyvät näin toivottamaan. Vaan tunnelmat vaihtuu hetket häipyvät pois ja juhla arjeks vaihtuu ja taivas pilveen käydä voi vaan onni kun aina elon on aurinkoinen on tyyntä rauhaa vaikka pauhaa maailman meri myrskyinen.

LEHDISTÖTIEDOTE SUOMEKSI Hymyilevä mies – muotokuva onnellisesta häviäjästä Juho Kuosmasen ohjaama Hymyilevä mies on tositapahtumien innoittama elokuva Olli Mäestä (Jarkko Lahti), jolla on edessään elämänsä tilaisuus. Hän ottelee kahden viikon kuluttua maailmanmestaruudesta Olympiastadionilla. Ottelu on ensimmäinen ammattilaisnyrkkeilyn suurtapahtuma Suomessa ja Ollin ystävä Elis Ask (Eero Milonoff), itsekin aikoinaan menestyksekäs nyrkkeilijä ja nyttemmin valmentaja, on tehnyt kaikkensa saadakseen MM-ottelun Suomeen: Olli joutuu ottelemaan normaalia alemmassa painoluokassa, ja stadionin katsomo pitää saada täyteen kulujen kattamiseksi. Kaikki on kiinni Ollista. Mutta Ollilla on ongelma. Kesken intensiivisimmän harjoittelukauden hän oivaltaa rakastuneensa palavasti Raijaan (Oona Airola). Keskiyön auringon maaseutumaisemista Helsingin kiireiseen vilinään joutuva Olli olisi mieluummin Raijan kanssa, kuin jatkuvan harjoittelun lisäksi juttelemassa sponsorien kanssa ja esiintymässä kisavalmisteluja taltioivalle kuvausryhmälle. Olli Mäki otteli ensimmäisenä suomalaisena nyrkkeilyn maailmanmestaruudesta Helsingin Olympiastadionilla vuonna 1962. Hän hävisi lopulta ottelun tyrmäyksellä täyden olympiastadionin edessä. Mäen mukaan se oli kuitenkin hänen elämänsä onnellisin päivä. Hymyilevä mies on sydämellinen ja leikkisä tarina epäonnistumisen taidosta ja onnen tavoittelemisesta; miehestä joka on pakotettu esittämään roolia joka ei hänelle sovi, ja sen myötä valmis oivaltamaan mistä onni syntyy. Hymyilevä mies on uuden elokuvantekijäsukupolven tinkimätön ja humoristinen taidonnäyte. Ajan henkeä hehkuva, 16 millimetrin filmille kuvattu mustavalkoinen elokuva sai maailmanensi-iltansa toukokuussa Cannesin elokuvajuhlilla ja voitti siellä arvostetun Un Certain Regard -sarjan pääpalkinnon. Hymyilevä mies on useimmille elokuvan taiteellisille vastaaville ensimmäinen tai toinen pitkä elokuva. Olli Mäkeä (s. 1936) on luonnehdittu kaikkien aikojen lahjakkaimmaksi suomalaiseksi nyrkkeilijäksi. Kokkolasta lähtöisin oleva, Kokkolan leipuriksikin kutsuttu Mäki aloitti uransa amatöörinä, huipentuen vuoden 1959 Euroopan mestaruuteen. Menestystä seurasi kuitenkin tragedia: ennakkosuosikki Mäkeä ei valittu poliittisista syistä Rooman olympiajoukkueeseen 1960. Osaltaan tämä monimutkaisista lajiliittoriidoista johtuva pettymys vaikutti Mäen päätökseen ryhtyä ammattilaiseksi, ja hän siirtyi vuonna 1960 osaksi Elis Askin tallia. Ammattilaisena menestys kuitenkin jatkui nopeasti, ja jo elokuussa 1962 työväenluokan sankariksi noussut Mäki otteli ensimmäisenä suomalaisena MM-tittelistä hallitsevaa maailmanmestaria, amerikkalaista Davey Moorea vastaan. Helsingin Olympiastadionilla järjestetty ottelu oli aikansa suurimpia urheilutapahtumia Suomessa. Olli Mäki jatkoi nyrkkeilyä tappion jälkeen, tosin toista mahdollisuutta maailmanmestaruusotteluun hän ei enää saanut. Euroopan mestaruuden hän voitti ammattilaisena kevyessä välisarjassa 1964. Olli Mäkeä on kuvailtu kiltiksi ja joskus jopa liiankin reiluksi ottelijaksi. Mäki ei esimerkiksi halunnut koskaan tyrmätä vastustajiaan, jos tiesi voittavansa ottelun muutenkin. Olli Mäki asuu Kirkkonummella ja on naimisissa Raija Mäen (os. Jänkä) kanssa. Olli ja Raija kihlautuivat Mäen MM-ottelupäivänä 17.8.1962. Elokuva on toteutettu tiiviissä yhteistyössä Ollin ja Raijan kanssa, jotka voi nähdä vilaukselta myös itse elokuvassa. Elis Ask (s. 1926 –k. 2003) oli yksi suomalaisen nyrkkeilyn tunnetuimmista hahmoista. Ankarista kotioloista ponnistaneena hän menestyi ensin ammattinyrkkeilijänä voittaen Euroopan mestaruuden elokuussa 1951 (päivämäärä on sama kuin Mäen epäonnisella MM-ottelulla 11 vuotta myöhemmin). Vuonna 1957 Ask siirtyi nyrkkeilijästä manageriksi perustettuaan nimeään kantavan nyrkkeilytallin. Talli saavutti mainetta ja menestystä, mutta rikasta se ei Askista silti tehnyt - hän oli tunnettu huonosta taloudenpidostaan. Nyrkkeilyrahojen turvin perustettu kenkätehdas, nimeltään Ennätys, meni myös konkurssiin. Elis Ask oli vankkumaton nyrkkeilyn - erityisesti ammattilaisnyrkkeilyn - puolestapuhuja ja suuri persoona. Hän kuoli Helsingissä 76-vuotiaana vuonna 2003. Ohjaaja Juho Kuosmasen sana Elokuun 17. päivä 1962 oli monelle suomalaiselle pettymys, varsinkin niille noin 24 000 ihmiselle, jotka olivat tulleet katsomaan nyrkkeilyn MM-ottelua Olympiastadionille. Mutta Olli Mäki, tuolloin elämänsä isoimman ottelun hävinnyt nuori nyrkkeilijä, on sanonut sen olleen elämänsä onnellisin päivä. Minua ohjaajana ei ole niinkään kiinnostanut Olli Mäki menestyneenä huippu-urheilijana, vaan poikkeuksellisena persoonana, joka kovasta painostuksesta ja paineista huolimatta piti kiinni hänelle itselleen tärkeistä arvoista ja teki omat valinnat niiden pohjalta. Elokuvan useita hetkiä leimaa hiertävä ristiriita ulkoisen minän ja sisäisten tunteiden välillä. Onnelliseksi tulkittava loppu on vapautumista tästä ristiriidasta. Luovan työn tekemisen edellytys on leikki. Kun muutama vuosi sitten sain tietää, että esikoispitkäni tultaisiin esittämään Cannesin elokuvajuhlien virallisessa sarjassa (Cannesin Cinéfondation-esityssarjan voitto Taulukauppiailla takasi seuraavalle elokuvalleni paikan festivaalin ohjelmistossa), ajauduin urani epäluovimpaan tilanteeseen. Muistan istuneeni työhuoneessani miettien, että nyt täytyy sitten kirjoittaa mestariteos... Ura, joka ei ollut vielä edes alkanut, uhkasi jo tyrehtyä. Ilon ja leikkisyyden tilalle oli tullut menestymisen pakko ja epäonnistumisen pelko. Koin että oli mahdotonta täyttää niitä odotuksia, jotka koin osakseni. Vaikka tiesin, että pelot ja suuret odotukset olivat oman pääni sisällä, en voinut mitään sille, että ne tihkuivat sieltä myös kaikkeen mitä yritin tehdä. Olin päättänyt tehdä seuraavaksi hauskan elokuvan, mutta prosessin mukanaan tuomat tunnelmat tukahduttivat ilon ja sen myötä mahdollisuuden onnistuneeseen lopputulokseen. Olli Mäen tarinan ja käsikirjoittaja Mikko Myllylahden avulla löysin tekemisen ilon uudelleen. Koin että tämän tarinan avulla pystyin tekemään hyvän elokuvan, mutta myös käsittelemään niitä tunnelmia joita itse kävin läpi. Mikko Myllylahden osuus oli keskeinen elokuvan tunnelman löytymisessä, sillä hänen mukanaolonsa antoi mahdollisuuden nauraa niille omille peloilleni ja epäilyksilleni, jotka olivat vieneet kyvyn nauttia työstä, jota rakastan. Ja Olli Mäen esimerkki oli hyvä muistutus siitä, ettei menestymisen ulkoiset mittarit mittaa sielun tilaa. Niiden varaan ei kannata elämäänsä ripustaa. Toisin kuin 60-luvulla, julkisuutta ja suosion tavoittelua pidetään tänä päivänä melkeinpä itseisarvona. (Terve) kilpailuhenki ei kuulu enää vain urheiluun, vaan on osa arkeamme, jossa muiden mielipiteillä tuntuu olevan enemmän painoarvoa kuin sillä mikä itsestä tuntuu hyvältä ja oikealta. Urheilussa kilpailu on olennaista, mutta arjessamme se tuhoaa elämän kauneuden. Mikä teki tuosta päivästä, joka ulkoisesti oli valtava julkinen nöyryytys ja selkeä epäonnistuminen, Olli Mäen elämän onnellisimman päivän? Ilmeisin syy on, että hän osti samana päivänä kihlat rakastettunsa Raija Jänkän kanssa. Mutta epäilen että se on enemmänkin seuraus kuin syy. Hän ei ensinnäkään viihtynyt siinä maailmassa, johon hän oli hieman yllättäen joutunut. Urheilun oheen oli kasvanut valtava julkisuussirkus, jonka valokeilassa hän koki elintilansa ahtaaksi. Väitän että ostamalla kihlat ottelupäivänä hän halusi osoittaa, ettei ala pelinappulaksi muille. Hän päätti ettei hänen onnellisuutensa tulisi olemaan kiinni yksittäisistä saavutuksista tai muiden ihmisten asettamista määritelmistä, vaan se rakentuisi niiden ihmisten varaan, jotka kykenevät varauksetta rakastamaan, olit sitten mestari tai häviäjä. Hymyilevä mies ei ole elämäkertaelokuva. Se on fiktiivinen muotokuva poikkeuksellisesta nyrkkeilijästä. Olli Mäki tunnettiin nyrkkeilijänä, joka ei voinut olla hymyilemättä edes ottelun aikana. Toivon että tämä elokuva tuo hymyn myös katsojan huulille. Taideteollisen korkeakoulun elokuva- ja TV-linjalta valmistunut Juho Kuosmanen (s. 1979) on elokuvien ohella työskennellyt teatterin puolella ohjaajana ja näyttelijänä sekä Kokkolan Oopperayhdistyksen produktioissa sen perustamisesta lähtien. Kuosmasen lyhytelokuvat (Taulukauppiaat, Kaupunkilaisia, Kestomerkitsijät) ovat kiertäneet lukuisia elokuvafestivaaleja ympäri maailman ja keränneet palkintoja arvostetuimmilta festivaaleilta kuten Cannes ja Locarno. Kuosmasen elokuvia on kuvailtu dokumentaarisiksi, joissa melko arkisillakin asioilla valotetaan jotain olennaista tästä maailmasta. Kuosmasen viimeisin lyhytelokuva Romu-Mattila ja kaunis nainen on elävän orkesterin säestyksellä esitettävä mykkäelokuva, josta on olemassa vain yksi 16mm:n filmikopio. Hymyilevä mies on Kuosmasen ensimmäinen pitkän elokuvan ohjaustyö, ja hän on käsikirjoittanut sen yhdessä Mikko Myllylahden kanssa. Filmografia: Romu-Mattila ja kaunis nainen, 2012, 30 min Taulukauppiaat, 2010, 60 min (Cannesin Cinéfondation-pääpalkinto, viisi Jussi-ehdokkuutta) Kaupunkilaisia, 2008, 28 min (2. palkinto ”Leopards of Tomorrow” Locarnon elokuvajuhlilla, Premiers Plans -festivaalin Prix Arte, Tampereen elokuvajuhlien nuorisotuomariston palkinto) Kestomerkitsijät, 2007, 18 min (Cannesin Cinéfondation-sarjan 3. palkinto) Käsikirjoittaja Mikko Myllylahden sana Elokuussa 1962 Olli Mäki tunsi itsensä keveäksi, rennoksi ja itsevarmaksi. Ollin keveydelle oli myös konkreettinen syy: mies oli rakastunut. Olli yrittää sopeutua parhaansa mukaan hänelle kaavailtuun menestyjän rooliin ja valmistautua samaan aikaan henkisesti ja fyysisesti erittäin vaativaan koitokseen. Mutta otteluun valmistautuminen vaatii täydellistä keskittymistä ja kovuutta. Ollin on unohdettava kevyt elämänasenteensa ja laitettava valmistautuminen kaiken edelle. Ollin ongelmaksi muodostuu se ettei hän pysty unohtamaan arvojaan ja elämän prioriteettejaan edes kahdeksi viikoksi. Kyse ei ole niinkään vastakkainasettelusta rakkauden ja menestymisen välillä, vaan pikemminkin siitä että kaksi asiaa vain yksinkertaisesti tapahtuu yhtä aikaa: uran huipennus ja rakastuminen, eikä kumpaakaan Ollin kaltainen ihminen pysty tukahduttamaan. Hymyilevä mies on myös puhdas tarina häviäjästä: kovien odotusten jälkeen Olli pettää odotukset, jotka häneen kohdistuivat. Mäen tappiolle ei ole yhtä yksittäistä syytä, eikä sellaisen etsiminen ole välttämättä edes mielekästä. Olennaista on, että vaikka Mäki hävisi, ymmärrämme että hän pystyi silti itse määrittelemään ne hetket jotka hänen elämässään lopulta ovat tärkeitä. Henkilökohtaisesti minua kiehtoo erityisesti se, että Mäki pystyi tähän kolossaalisen tappion ja häpeän jälkeen. Tämä vapauden tunne, voimakas inhimillisyys on myös se minkä haluan antaa yleisölle tarinan lopussa. Minulle käsikirjoittajana Hymyilevä mies on pyrkimys päästä voittamisen ja häviämisen ulkopuolelle. Halusin rakentaa epätavallisen häviäjän muotokuvan, näyttää prosessin, jonka lopputuloksena on nöyryyttävä tappio, mutta joka samaan aikaan on päätös tavoitella onnea! Mikko Myllylahti (s. 1980) on valmistunut taiteen maisteriksi Aalto-yliopiston elokuvataiteen laitokselta. Hänen lyhytelokuviaan on esitetty useilla kansainvälisillä elokuvafestivaaleilla. Myllylahti on myös kirjoittanut neljä runokokoelmaa, joista Väylä (2012) palkittiin Kalevi Jäntin rahaston palkinnolla. Hymyilevä mies on Myllylahden ensimmäinen pitkä elokuva käsikirjoittajana. Pääosanesittäjät Jarkko Lahti (s. 1978) aloitti valmistautumisen Olli Mäen rooliin jo lähes neljä vuotta sitten. Runsaasti painonpudotusta ja nyrkkeilytreeniä sisältäneeseen valmistautumisjaksoon kuului myös kaksi nyrkkeilyottelua yleisessä kevytsarjassa (60kg). Lahti on pitkän linjan näyttelijä ja teatterintekijä. Kokkolasta kotoisin oleva Lahti on mm. toiminut Kokkolan kaupunginteatterin johtajana sekä perustanut Ruska Ensemble -teatteriryhmän ja toiminut sen taiteellisena johtajana. Hän on näytellyt mm. Kansallisteatterin, KOM-teatterin ja Kokkolan kaupunginteatterin tuotannoissa. Viimeksi hänet on nähty lavalla Juha Hurmeen keskustelua herättäneessä Töppöhörössä. Lisäksi Lahti on näytellyt television puolella mm. Kari Väänäsen ja Minna Virtasen ohjaamissa tv-sarjoissa, sekä myös Kuosmasen lyhytelokuvassa Kaupunkilaisia. Kesällä 2016 Lahti osallistuu Aku Louhimiehen Tuntematon sotilas - elokuvan kuvauksiin - elokuvassa hänet tullaan näkemään sotamies Viirilän roolissa. Hymyilevä mies on Lahden ensimmäinen pitkän elokuvan päärooli. Jarkko Lahti Juho Kuosmasen sanoin: Jarkko on poikkeuksellisen lahjakas ja työlleen omistautunut näyttelijä. Olemme kotoisin samalta kadulta Kokkolasta. Muistan kun pieninä heitin Jarkkoa lumipallolla ja kostoksi hän iski minua pyöränpumpulla päähän. 20 vuotta myöhemmin pyysin häntä näyttelemään lyhytelokuvassani, jossa Jarkon roolihahmo joutuu tappeluun itseään paljon isomman kaverin kanssa. Ja nyt pyysin häntä esittämään nyrkkeilijää, joka saa turpiinsa. Uskon että kalavelat on nyt vihdoin maksettu. Elokuvassa Ollin naisystävä Raija Jänkää näyttelevä, kokkolalaissyntyinen Oona Airola (s. 1988) on Helsingissä asuva näyttelijä ja laulaja. Teatterikorkeakoulusta vuonna 2015 valmistunut Airola on esiintynyt teatterissa niin draaman kuin musikaalienkin puolella. Laulajana Airola tunnetaan muun muassa yhteistyöstä säveltäjä Kaj Chydeniuksen kanssa, sekä vuonna 2011 perustamansa slaavilaisorkesteri Lada Nuevon laulajana ja lauluntekijänä. Airolan ääntä kuullaan myös Hymyilevässä miehessä; Airola on elokuvassa esiintyvän Ykspihlajan kino-orkesterin laulaja, ja säveltänyt musiikkia myös Kuosmasen edelliseen elokuvaan Romu-Mattila ja kaunis nainen. Tällä hetkellä Airola työskentelee soolotuotantonsa parissa. Hymyilevä mies on Airolan ensimmäinen näyttelijäntyö kokoillan elokuvassa. Vuonna 2005 Teatterikorkeakoulusta valmistunut Eero Milonoff (s. 1980) on näytellyt elokuvissa, televisiossa ja teatterissa jo yli 20 vuotta. Milonoff tunnetaan parhaiten roolisuorituksistaan elokuvissa kuten Pahat pojat, Pussikaljaelokuva, Tummien perhosten koti, Tyttö sinä olet tähti sekä Ganes, joka toi hänelle Remu Aaltosen roolista Jussi-ehdokkuuden. Tuottaja Jussi Rantamäki elokuvan visuaalisesta tyylistä Hymyilevä mies on kuvattu 16 millimetrin mustavalkoiselle kääntöfilmille, Kodakin Tri-X:lle. Se on materiaali, jota aikanaan käytettiin muun muassa uutisissa. Elokuvia sillä ei juurikaan ole kuvattu. Tarkoitus ei ollut alunperin tehdä mustavalkoista elokuvaa. Testasimme useita eri digitaalisia formaatteja ja filmimateriaaleja, eri leveyksiä ja eri emulsioita. Kyse ei ollut siitä miltä halusimme elokuvamme näyttävän, vaan siitä miltä sen pitäisi tuntua. Digitaalinen jälkikäsittely heikentää filmin tekstuuria, joten halusimme päästä mahdollisimman lähelle lopputulosta jo materiaali- ja linssivalinnoilla. Mustavalkoinen kääntöfilmi tuntui vievän meidät suoraan 60-luvulle. Sen rakenne, piirto ja kontrasti toivat mieleen vuosikymmenen alun direct cineman. Vaikka Helsingistä löytyy hyvin vielä vanhaa arkkitehtuuria, niin rakennusten pintamateriaalit ovat uusia. Tri-X:llä kuvatessa tuntui, että materiaali omalta osaltaan patinoi pintoja ja toi kuvastoon vanhan maailman tunnun ilman, että sitä pitäisi konkreettisilla esineillä sieltä yrittää alleviivata. Kääntöfilmin saanti oli haastavaa, sillä sitä ei varsinaisesti käytetä pitkien teatterielokuvien kuvaamiseen. Ensin tilasimme Kodakilta Euroopan varastot tyhjiksi, sen jälkeen tyhjensimme Amerikan varastot, ja loppuja materiaaleja varten Kodak joutui käynnistämään linjastonsa uudelleen. Mutta uskoaksemme työ kannatti; elokuvassa on voimakas struktuuri ja persoonallinen ilme, jota ei voi saada aikaiseksi muuten. Jussi Rantamäki (s. 1980) on tuottaja ja vuonna 2001 perustetun Elokuvayhtiö Aamun omistaja. Aamu tuottaa sekä pitkiä että lyhyitä fiktio- ja dokumenttielokuvia. Aamussa projektit valikoidaan tarkkaan. Jos projekti koetaan Aamussa omaksi, annetaan kaikki talon osaaminen sen tekijöiden käyttöön. Aamu haluaa rakentaa pitkäkestoisia suhteita käsikirjoittajiin ja ohjaajiin; tuotantoyhtiössä edetään mielellään lyhytelokuvien kautta kansainvälisiin tuotantoihin. Tavoitteena on oppia ja auttaa tekijöitä ja heidän työryhmiään kehittymään matkan varrella. Sisältö määrittää elokuvan muotoa. Siksi jokainen elokuvatuotanto täytyy muokata kullekin sisällölle sopivaksi. Aamun toimisto sijaitsee Helsingin Herttoniemessä. Aamussa pidetään Carcassonnelautapelistä, vapaasukelluksesta, hyvästä viinistä, viinistä ja Sodankylän elokuvajuhlista. Hymyilevä Mies -elokuvan lisäksi Aamu on tuottanut mm. Juho Kuosmasen Taulukauppiaat, Matti Ijäksen elokuvan Kaikella rakkaudella sekä Auli Mantilan Hopeanuolet-televisiosarjan. Kesällä 2016 tuotannossa on Hannaleena Haurun esikoiselokuva Lauri Mäntyvaaran tuuheet ripset. Näyttelijät Olli Mäki Jarkko Lahti Raija Jänkä Oona Airola Elis Ask Eero Milonoff Laila Ask Joanna Haartti Nyrkkeilijät Olli Rahkonen, Joonas Saartamo, Henrik Palosaari, Sam-Peter Hirvikangas, Antti Naakka, Niklas Hyvärinen Davey Moore John Bosco jr. Snadi Esko Barquero Evi Elma Milonoff Tuula Leimu Leisti Anneli Hilma Milonoff Työryhmä Ohjaaja Juho Kuosmanen Käsikirjoittajat Mikko Myllylahti, Juho Kuosmanen Kuvaaja J-P Passi Lavastaja Kari Kankaanpää Leikkaaja Jussi Rautaniemi Äänisuunnittelija Pietu Korhonen Säveltäjät Miika Snåre, Laura Airola, Joonas Haavisto Pukusuunnittelija Sari Suominen Maskeeraussuunnittelija Salla Kaarina Yli-Luopa Tuottaja Jussi Rantamäki / Elokuvayhtiö Aamu Yhteistuottajat Nicklas Wickström Nicastro / Tre Vänner Sol Bondy ja Jamila Wenske / One Two Films Simon Perry ja Katarina Krave / Film Väst Rahoittaja Suomen elokuvasäätiö, Nordisk Film & TV Fond Yhteistyössä Yleisradio, Arte Maailmanensi-ilta Cannesin elokuvajuhlat 19.5.2016, Un Certain Regard -sarjan pääpalkinto Kansainvälinen myynti Les films du Losange Ensi-ilta elokuvateattereissa 2.9.2016 Teatterilevitys Suomessa B-Plan Distribution Elokuvan trailer www.vimeo.com/165535722 Elokuvan kotisivut www.hymyilevamies.fi Elokuvan Facebook-sivut www.facebook.com/hymyilevamies Elokuva Instagramissa www.instagram.com/happiestdayinthelifeofollimaki Tekniset tiedot Alkuperäinen nimi Hymyilevä mies Englanninkielinen nimi The Happiest Day in the Life of Olli Mäki Ruotsinkielinen nimi Den lyckligaste dagen i Olli Mäkis liv Genre Fiktio/draama Kieli Suomi (tekstitys saatavilla ruotsiksi ja englanniksi) Kesto 93 min Tuotantovuosi 2016 Tuotantomaa Suomi, Ruotsi, Saksa Ikäraja 7 (väkivalta, ahdistus) Esitysformaatti 2K DCP Kuvasuhde 1.85:1 Ääni Dolby Digital 5.1 Väri/mustavalkoinen mustavalkoinen

Anno uno 9 [A]: 1895-1995-2016: Latest Updates on the Lumière Brothers

Autruches 1896. Cinema anno uno – Lumière! 1896. Year One of Cinematography Programma 9[A]: 1895-1995-2016: Ultimi aggiornamenti sui Lumière Programme 9[A]: 1895-1995-2016: Latest Updates on the Lumière Brothers Il Cinema Ritrovato, Bologna Dominique Moustacchi (CNC) presenta il Work in progress sul catalogo Lumière grand piano Maud Nelissen There are no intertitles in the films Cinema Lumiere – Sala Officinema/Mastroianni, 30 June 2016 Béatrice de Pastre and Dominique Moustacchi (Bologna Catalog): "In view of the celebrations for cinema’s centenary in 1995, an international project to reconstruct and restore the entire output of the production company A. Lumière et fils was undertaken in France by the Centre National de la Cinématographie. In collaboration with the University of Lyon II, this wide-ranging project, which started with elements belonging to archives throughout the world, led to the identification of 1408 views (of which only 19 are considered lost) and the publication of a catalogue, La Production cinématographique des frères Lumière, edited by Michelle Aubert and Jean-Claude Seguin and published by BiFi, Editions Mémoires de cinéma, 1er siècle du cinéma." "Twenty years later, in an era characterised by the global sharing of information online and the internationalisation of cataloguing standards, what is the current state of knowledge on the earliest productions in the history of the cinema?" "For the CNC, the Institut Lumière and the Cinémathèque française, the commemoration of the 120 anniversary of this exceptional material marks an opportunity to continue this work, reprising the indexing of the films according to current cataloguing standards, and, above all, to study the so-called ‘out-of-catalogue’ films: a corpus of about 600 views that principally comprise those that were indicated as never having been marketed. Comparing them with the ‘catalogue’ views allows us to reflect both on the distribution of images – why was one view preferred over another? – and on the production of ‘series’ like Arroseur et arrosé or the various Entrées d’un train en gare. Moreover, these unpublished images allow us to adopt new cultural and ethnographic approaches to reading the films." – Béatrice de Pastre and Dominique Moustacchi [Toboggan aquatique] / [Water Slide] fuori catalogo n. [4006], Alexandre Promio, [FR 1896]. - AA: a modest print, scratches.

Water toboggan (montagnes russes sur l’eau). Catalogue Lumière. Vue N° 98. “Cette vue représente la scène bien connue du bateau qui descend rapidement sur des rails et se précipite dans un bassin rempli d’eau ; débarquement des passagers.” - Graphie originelle du titre : Water-to-bogant.- Sur une bouée suspendue à une barrière, il est inscrit “H.HEIDISLAND”, qui pourrait peut-être suggérer le nom d"un parc d"attraction. En raison de ce terme que l"on peut rapprocher des nombreux lieux portant le nom “Island” aux alentours de New York, cette vue est classée aux États-Unis.- Le numéro originel 98 et le titre de cette vue sont absents du Catalogue des vues - Première liste (n° originels 1 à 358), paru en [mai] 1897. Il en est de même dans la liste en anglais (n° originels 1 à 358) de la firme Philipp Wolff for Films, parue en août 1897 dans la revue The Photographic Dealer (Londres). Dans le catalogue anglais (paru vers septembre 1897 puisqu"incluant les n° originels 1 à 619) de la firme H. Jasper Redfern (Sheffield), le numéro 98 apparaît sans titre. À notre connaissance, ce n"est que dans le Catalogue des vues - Listes 1 à 4 réunies que le titre et le numéro sont présents pour la première fois.- Une première version non cataloguée de ce sujet, tournée lors de l"Exposition nationale suisse de Genève, a été programmée le 14 juin 1896 à Lyon (France) sous le titre Le Water Tobogant (Exposition de Genève) (Lyon républicain, 15 juin 1896). Opérateur: inconnu. Date: [printemps 1896] - [1er mai 1897]. Lieu: [États-Unis]. Eléments filmiques: négatif Lumière - 4 copies Lumière - 1 copie Edison. Pays: États-Unis. Lieu: parc. Genre: distraction. Objet: manège. Water toboggan (montagnes russes sur l’eau) / [Water Slide (Roller Coaster on Water)] n. 98, US 1896. - AA: Two Lumière versions of a favourite subject of the earliest cinema. We had seen yesterday the American Mutoscope version of Shooting the Chutes probably shot by William K. L. Dickson. Scratches.

Autruches. Catalogue Lumière. Vue N° 4. “Promenade des autruches dans une allée du Jardin des Plantes, à Paris.” Une autruche et deux ânes, attelés à des charrettes, puis deux chevaux, un dromadaire et trois éléphants promènent des enfants. - Erreur dans le sujet du Catalogue des vues pour Cinématographe : la vue n"est pas tournée au jardin des Plantes.- Une autre prise non cataloguée du même sujet, tournée au même moment, révèle le recours à des prises multiples lorsque la vue semblait insatisfaisante. En effet, dans cette vue non retenue, un homme retient un petit garçon qui tente de traverser le champ au moment où l"autruche entre dans le champ (le même petit garçon d"ailleurs saluera l"opérateur à la fin de la vue cataloguée). Nombre de vues contiennent quelques présences importunes, mais ici la relation de ces deux vues est telle qu"il est permis d"imaginer que l"opérateur a décidé sans attendre de reprendre une vue devant ce léger contretemps. La volonté de laisser la vedette à l"autruche semble évidente. Opérateur: inconnu. Date: [juin 1896] - [12 juillet 1896]. Lieu: France, Paris, jardin d"acclimatation. Projections: Programmée le 19 juillet 1896 à Lyon (France) sous le titre Paris. - Au jardin d"acclimatation : l"autruche (Lyon républicain, 19 juillet 1896). Eléments filmiques: négatif Lumière - 1 copie Lumière. Lieu: parc. Genre: distraction. Sujet: animal, enfant. Séries: Promenades au jardin d"acclimatation de Paris. Autruches / [Ostriches] n. 4, Paris, FR 1896. - AA: A good print. [Autruches, II] / [Ostriches, II] fuori catalogo n. [4506], Paris, FR 1896. - AA: A fair print.

Scène d’enfants. Catalogue Lumière. Vue N° 94. “Deux enfants jouant dans un jardin avec un chien et un chat.” Opérateur: [Lumière]. Date: [printemps 1896] - 23 août 1896. Lieu: France, Lyon, Monplaisir, maison Koehler. Personnes: Marcel Koehler et sa petite soeur Madeleine, assise. Projections: Programmée le 23 août 1896 à Lyon (France) sous le titre Enfants, chiens et chat (Lyon républicain, 23 août 1896). Eléments filmiques: négatif Lumière - 1 copie Lumière - 1 copie Edison. Lieu: domicile. Personnes identifiées: Madeleine Koehler, Marcel Koehler. Genre: distraction. Sujet: animal, enfant. Séries: À Monplaisir. Scène d’enfants / [A Scene with Children] n. 94, [Lumière], Lyon, FR 1896. - AA: A fair, darkish print. [Enfants jouant avec chat et chiens] / [Children Playing with a Cat and Dogs] fuori catalogo n. [4587], [Lumière, 1896]. - AA: A closer view.

Enfants pêchant des crevettes. Catalogue Lumière. Vue N° 45. “Des enfants traînent leurs filets sur la plage à mer basse : les fillettes, les jupes relevées, rivalisent d’entrain avec les garçons dans cet exercice.” - Un des personnages porte un panier sur lequel est inscrit “Shrimp” [crevette].- Une vue supplémentaire et non cataloguée représente le même sujet. Opérateur: [Alexandre Promio]. Date: [juillet 1896] - [9 août 1896]. Lieu: [Grande-Bretagne]. Projections: Programmée le 7 novembre 1896 à Nîmes (France) sous le titre Les Pêcheuses de crevettes (La Chronique mondaine, littéraire et artistique, 7 novembre 1896).Programmation d"Enfants s"amusant sur la plage le 20 septembre 1896 à Lyon (France) (Lyon républicain, 20 septembre 1896). Eléments filmiques: négatif Lumière - 3 copies Lumière. Genre: distraction. Sujet: enfant. Séries: Premier séjour d"Alexandre Promio (1896). Enfants pêchant des crevettes / [Children Fishing for Shrimp] n. 45, [Alexandre Promio], GB 1896. - AA: Scratched. [Enfants pêchant des crevettes, II] / [Children Fishing for Shrimp, II] fuori catalogo n. [4514], [Alexandre Promio, GB 1896]. - AA: Better visual quality, easier to see detail.

Via Roma. Catalogue Lumière. Vue N° 281. Circulation dans la rue. Opérateur: inconnu. Date: [12 mars 1896] - [20 décembre 1896]. Lieu: Italie, Naples, via Roma. Projections: Programmation de La Plaza de San Fernando en Nápoles [La place de St-Ferdinand à Naples] le 10 janvier 1897 à Séville (Espagne) (El Noticiero sevillano, 10 janvier 1897). Eléments filmiques: négatif Lumière - 1 copie Edison. Genre: villes et paysages. Objet: voiture hippomobile. Via Roma n. 281, Napoli, IT 1896. - AA: Low contrast. [Circulation via Roma à Naples] / [Traffic on Via Roma in Naples] fuori catalogo n. [4011], Napoli, IT [1896]. - AA: Reverse direction. Better definition of light. Duped. [Toulouse: Place du Capitole, II] fuori catalogo n. [4017], Toulouse, FR [1896]. - AA: Traffic with streetcars. A fair print, with flicker. [Les Bains Pane de Mexico] / [The Pane Baths in Mexico] fuori catalogo n. [4559], Gabriel Veyre, MX 1896. - AA: Divers. 35 mm. Da: CNC – Archives français du film AA: Quoi de neuf sur les Lumière? A screening of comparisons of different takes of the same subject, and samples of Lumière films hors catalogue. The captions are copied from the Catalogue Lumière website.

Broadway (1929) (2016 print from Universal Pictures)

Salaperäinen Broadway. US 1929. D: Paul Fejos. Based on: dall’omonimo musical di Philip Dunning e George Abbott. SC: Edward T. Lowe, Jr., Charles Furthman. Cinematography: Hal Mohr, Frank H. Booth. ED: Robert Carlisle, Edward L. Cahn, Maurice Pivar. AD: Charles D. Hall. M: Howard Jackson. C: Glenn Tryon (Roy Lane), Evelyn Brent (Pearl), Merna Kennedy (Billie Moore), Thomas Jackson (Dan McCorn), Robert Ellis (Steve Crandall), Leslie Fenton (‘Scar’ Edwards). P: Carl Laemmle Jr. per Universal Pictures Corp. 35 mm. 104¢. B&w . This new print of Broadway has been crisply reproduced from the original black and white camera negative. And the two-minute Technicolor finale – previously only available in muddy, muted copies – has been digitally restored by Universal from the best surviving color elements at the Magyar Nemzeti Digitális Archívum és Filmintézet (MaNDA) Print from Universal Pictures Il Cinema Ritrovato, Bologna. Universal Pictures: The Laemmle Junior Years E-subtitles in Italian by Sub-Ti Londra Cinema Jolly, 29 June 2016 James Layton and David Pierce (Bologna catalog): "George Abbott and Philip Dunning’s Broadway first made a splash as a hit stage play in 1926, running 603 performances on Broadway, and winning praise for its contemporary street slang and realistic underworld atmosphere. Sensing a prime vehicle for the new medium of sound film, Universal boss Carl Laemmle soon scooped up the rights for $225,000. Following their critical and artistic triumph with Lonesome (1928), producer Carl Laemmle Jr. and director Paul Fejos were entrusted to bring this hot stage property to the screen as Universal’s second all-talkie. But Fejos recognized that the dialogue-driven drama about a song and dance man hoping to hit the big time possessed none of the scope or scale required for a major Universal release, so he expanded the film to include sequences in the nightclub and cabaret musical numbers." "Art director Charles D. ‘Danny’ Hall designed a colorful, Cubist-inspired set for the Paradise Night Club that was constructed on Universal’s largest sound stage. And the final sequence of the film was enhanced with two-color Technicolor. To further enliven the cabaret scenes Fejos and cinematographer Hal Mohr commissioned a sophisticated mobile camera platform, called the Broadway crane. Constructed for $50,000, and measuring 25-feet long, this 28-ton engineering marvel could move smoothly and rapidly in any direction to capture shots from any height or perspective. To get a return on its investment, the costly crane was reused repeatedly by Universal over the following years, notably on All Quiet on the Western Front and King of Jazz. Broadway’s final production cost was an enormous $1.5 million, and despite some strong reviews, it failed with audiences, who were no longer impressed with the once novel backstage drama elements." – James Layton and David Pierce AA: I only saw the first 60 minutes of Broadway because of an overlap with an Anno uno screening. Broadway has for a long time been available only in incomplete versions. Now it has been brilliantly reconstructed, complete with the colour sequence. It is a big treat for lovers of the musical and gangster genres. Like Chicago (1927, P: Cecil B. DeMille, D: Frank Urson), Broadway is based on a popular play about the gangster world (from the same year 1926 as Chicago), and unlike it, it is also a musical, based on the first hit musical play by George Abbott. Universal"s second all-talking film belongs to the foundation works of the genres of the gangster film and the film musical. We are starting to move from the sophisticated jazz age style to the more brutal and cynical depression age approach. We hear early instances of the wisecracking dialogue of those genres. "This show isn"t bad, it"s lousy". "Lay off those big sugar daddies, they"re only after one thing". "You"ve been cutting on my territory". What the band leader thinks he has is: "per -so - na - li - ty". In this early sound film the pronunciation is often deliberate and slowed down. But visually it"s swinging thanks to Paul Fejos"s amazing "Broadway crane", used not least in the "Hittin" the Ceiling" production number. The production numbers are wonderful, and the cinematography by Hal Mohr is stunning. Broadway is another amazing piece in the Paul Fejos jigsaw puzzle. The more I see of his films the more impossible it seems to define him. How could the same director be in charge of The Last Performance, Lonesome, Fantômas (1932 version), Tavaszi zápor, Ítél a Balaton, Skönhetssalong på Madagaskar, Draken på Komodo... and Broadway?! "A Flying Hungarian" truly, not only through continents but also through genres, from horror, gangster, super criminal and musical films to modern city romance and traditional rural romance, and, not least, the documentary. Of the first 60 minutes I saw I observed that the print is based on sometimes challenging source materials, but the visual quality is usually stunning. I missed the colour finale.

Anno uno 5: Spectacle: The Power of the Cinématographe (Lumière)

Mauvaises herbes 1896. Cinema anno uno – Lumière! 1896. Year One of Cinematography Programma 5: Spettacolo. Il potere del Cinématographe Programme 5: Spectacle: The Power of the Cinématographe Il Cinema Ritrovato, Bologna Introduced by Mariann Lewinsky. Grand piano John Sweeney, Gabriel Thibaudeau There are no intertitles in these movies Cinema Lumiere – Sala Officinema/Mastroianni, 26 June 2016 Mariann Lewinsky (Bologna catalog): "You turn the handle a few times and your machine transforms a pig into appetizing sausages. You turn the handle a few times, and your Cinématographe transforms whatever it films into a spectacular appearance, endowing everything with meaning, mystery and glamour. Everybody becomes a protagonist, a performer." "This effect is less noticeable in performances such as music-hall numbers and in family films (where people put on little shows for the benefit of the camera) and is at its strongest in apparently unarranged scenes of play or work, such as Bassin des Tuileries, Chargement du Coke and Mauvaises herbes." "The views Lumière form an amazing documentation of work, much of it collective and unmechanized, done by groups of men, women and animals in orchestrated movements. Captured by the Cinématographe they appear as effortless choreographies when screened now in front of audiences no longer familiar with such kind of work and the sight of it." Mariann Lewinsky THIS FIRST FILM WAS AN ADDITION TO THE PRINTED PROGRAMME:

Charcuterie mécanique. Catalogue Lumière. Vue N° 107. “Un cochon est introduit dans un appareil mécanique et il suffit de tourner une manivelle pour faire sortir de l’autre côté: jambons, saucisses, boudins, etc.” Dans le Catalogue des vues - Première Liste qu"il a remis à Georges Sadoul en 1946, Louis Lumière a annoté les vues qu"il s"attribuait dont celle-ci. Opérateur: Louis Lumière. Date: [16 janvier 1896] - 18 avril 1896. Lieu: France, [La Ciotat], [Clos des Plages]. Projections: Programmée le 18 avril 1896 à Lyon (France) sous son titre (Le Progrès, 18 avril 1896). Eléments filmiques: négatif Lumière - 1 contretype Lumière. Genre: comédie, vue comique. Charcuterie mécanique / [A Mechanized Charcuterie] Vue N° 107, Louis Lumière, [La Ciotat], FR 1896. - AA: Fiction, comedy, one of the earliest trick films. You put a pig into the machine, and by turning the crank you get hams, sausages, and black pudding.

Cyclistes et cavaliers arrivant au cottage. Catalogue Lumière. Vue N° 247. Dans une rue, un homme salue des passants et accueille deux cyclistes et trois cavaliers qui s’arrêtent le long du trottoir. Opérateur: [Charles Moisson]. Date: [8 mars 1896] - [3 mai 1896]. Lieu: Grande-Bretagne, Londres, [Hampstead]. Personnes: Félicien Trewey avec un haut de forme. Projections: Programmée le 24 mai 1896 à Lyon (France) sous le titre Cyclistes et cavaliers (Le Progrès, 24 mai 1896). Eléments filmiques: négatif Lumière - 3 contretypes Lumière - 4 copies Lumière. Séries: Les premiers tournages à l"étranger. Cyclistes et cavaliers arrivant au cottage / [Cyclists and Horse Riders Arrive at the Cottage] n. 247, [Charles Moisson], London, GB 1896

Pigeons sur la place Saint-Marc. Catalogue Lumière. Vue N° 292. Un homme et une femme jettent de la nourriture à une nuée de pigeons. Opérateur: Charles Moisson. Date: [14 juin 1896] - 2 août 1896. Lieu: Italie, Venise, place Saint-Marc. Personnes: Marie Moisson. Projections: Programmée le 2 août 1896 à Lyon (France) sous le titre Venise : les pigeons de la place Saint-Marc (Lyon républicain, 2 août 1896). Éléments filmiques: négatif Lumière - 5 copies Lumière. Genre: distraction, villes et paysages. Pigeons sur la place Saint-Marc / [Pigeons on St. Mark"s Square] n. 292, Charles Moisson, Venezia, IT 1896

Bassin des Tuileries. Catalogue Lumière. Vue N° 150. Des enfants jouent à pousser leur voilier sur l’eau du bassin. Opérateur: inconnu. Date: [1896] - 5 avril 1896. Lieu: France, Paris, jardin des Tuileries. Projections: Programmée le 5 avril 1896 à Lyon (France) sous le titre Le Bassin des Tuileries à Paris (Lyon républicain, 5 avril 1896). Éléments filmiques: négatif Lumière - 2 copies Lumière. Genre: distraction, villes et paysages. Sujet: enfant. Bassin des Tuileries / [The Garden Pond of the Tuileries] n. 150, Paris, FR 1896

Chargement du coke. Catalogue Lumière. Vue N° 123. Des femmes chargent le coke dans des brouettes que d’autres emportent. En 1896, les femmes ouvrières dans les mines de charbon de Carmaux travaillent toutes au jour, depuis une loi de 1874 leur interdisant le travail de fond. Dans leur majorité, elles travaillent toutes comme manoeuvres de force, soit qu"elles chargent comme ici le coke à la pelle, soit qu"elle empilent les briquettes à l"usine d"agglomérés. Opérateur: inconnu. Date: [25 janvier 1896] - 12 juillet 1896. Lieu: France, Carmaux, cokerie (aujourd"hui détruite). Personnes: À l"arrière-plan, les bâtiments de l"entrée du puits minier de Sainte-Barbe. Projections: Projection de vue de Carmaux le 12 juillet 1896 à Toulouse (France) (Le Messager de Toulouse, 12 juillet 1896).Programmée le 26 juillet 1896 à Lyon (France) sous le titre Carmaux : embarquement du Coke (Lyon républicain, 26 juillet 1896). Eléments filmiques: négatif Lumière - 1 contretype Lumière - 3 copies Lumière. Séries: info-five-70. Chargement du coke / [Loading Coke] n. 123, Carmaux, FR 1896. - AA: One of the earliest records of hard work.

Comtesse de Montebello. Catalogue Lumière. Vue N° 304. La comtesse de Montebello descend l’escalier et monte dans la voiture qui démarre, puis un homme monte dans une seconde voiture qui s’éloigne également. Voir la remarque de la vue n° 1325. Opérateur: Charles Moisson. Date: [26 mai 1896]. Lieu: Russie, Moscou, [hôtel Cheremetiew (ambassade de France)]. Personnes: Mme Lannes, comtesse de Montebello, s"apprête à monter en voiture. Projections: Projection de 18 vues du couronnement du tsar le 24 juin 1896 à Paris (France) dans les salons du Figaro (Le Figaro, 25 juin 1896).Programmation de Le Couronnement du czar le 21 juin 1896 à Rouen (France) (Le Nouvelliste de Rouen, 21 juin 1896).Programmation de Mme la comtesse de Montebello sortant du Kremlin le 12 juillet 1896 à Mâcon (France) (Le Journal de Saône et Loire, 12 juillet 1896). Eléments filmiques: négatif Lumière. Séries: Couronnement du tsar Nicolas II à Moscou. Comtesse de Montebello / [Countess de Montebello] n. 304, Charles Moisson, Moscow, RU 1896

Vienne: retour des courses. Catalogue Lumière. Vue N° 427. Un cortège de voitures à chevaux défile rapidement, occupant toute la largeur de la chaussée. Opérateur: Charles Moisson. Date: 2 juin 1896. Lieu: Autriche-Hongrie (aujourd"hui Autriche), Vienne, Prater, hippodrome de Freudenau. Projections: Programmée le 21 juin 1896 à Lyon (France) sous le titre Les Courses à Vienne (Lyon républicain, 21 juin 1896). Programmée le 28 juin 1896 à Vienne (Autriche) sous le titre Freudenau. Sattelraum nach dem Pisek-Rennen [Freudenau, [.] après les courses de Pisek] (Wiener Zeitung, n° 149, 28 juin 1896). Eléments filmiques: 1 copie Lumière - 1 copie Edison. Genre: distraction, sport, villes et paysages. Objet: voiture hippomobile. Séries: Charles Moisson à Vienne et à Budapest (1896). Vienne: retour des courses / [Vienna: Return from the Races] n. 427, Charles Moisson, AT 1896

Course en sacs. Catalogue Lumière. Vue N° 109. “Des jeunes gens font une course en sacs entre deux haies de spectateurs qui s’égayent fort des chutes et des péripéties diverses de cette lutte amusante.” - Dans le Catalogue des vues - Première Liste qu"il a remis à Georges Sadoul en 1946, Louis Lumière a annoté les vues qu"il s"attribuait dont celle-ci.- Il existe un remake non catalogué, comportant plusieurs arrêts caméra, tourné au même moment que les vues n° 588 et n° 589. Opérateur: Louis Lumière. Date: [automne 1896] - 25 octobre 1896. Lieu: France, Lyon, Monplaisir. Personnes: Les ouvriers de l"usine Lumière. Projections: Projetée le 25 octobre 1896 à Boulogne-sur-Mer (France) sous le titre La Course en sac (L"Impartial, 28 octobre 1896). Eléments filmiques: négatif Lumière - 1 copie Edison. Genre: distraction. Objet: instrument de jeu. Course en sacs / [Sack Race] n. 109, Louis Lumière, Lyon, FR 1896

Duel au pistolet (longueur: 12 mètres). Catalogue Lumière. Vue N° 35. Deux duellistes, armés de pistolets, font feu : l’un d’eux est touché et s’écroule. On lui apporte les premiers soins, tandis qu’on éloigne l’autre. Du point de vue de la durée de l"action et du jeu des acteurs (en comparaison au n° 235, où il est évident qu"il s"agit d"une reconstitution), la mise en scène est ici si bien réglée qu"elle peut encore faire passer l"action pour un duel authentique. Opérateur: Gabriel Veyre. Date: 12 ou 13 décembre 1896. Lieu: Mexique, Mexico, parc de Chapultepec. Projections: Programmée le 21 février 1897 à Lyon (France) sous le titre Mexique: un Duel au pistolet (Lyon républicain, 21 février 1897). Longueur: 12 mètres. Eléments filmiques: négatif Lumière - 2 copies Lumière. Événement: affrontement. Genre: comédie. Séries: Gabriel Veyre en Amérique latine (1896-1897). Duel au pistolet (longueur: 12 mètres) / [Pistol Duel (length: 12 meters)] n. 35, Gabriel Veyre, Ciudad de México, MX 1896. - AA: Fiction, enactment, performed by actors.

Géant et nain. Catalogue Lumière. Vue N° 114. “Lutte comique entre un géant et un nain.” Titre dans le catalogue anglais de la firme H. Jasper Redfern (Sheffield): Giant and Dwarf (Brothers Marco). En outre, d"après Adrian (historien du cirque), leur maquillage indiquerait que ces clowns sont anglais. Opérateur: inconnu. Date: [20 février 1896] - 10 mai 1896. Lieu: [Grande-Bretagne]. Personnes: Les deux clowns dits les “frères Marco”. Projections: Programmée le 10 mai 1896 à Lille (France) sous le titre Le géant et le nain (La Dépêche, 11 mai 1896). Eléments filmiques: négatif Lumière - 1 copie Lumière. Genre: spectacle. Sujet: acrobate et équilibriste, clown. Séries: info-five-30, Les premiers tournages à l"étranger. Géant et nain / [Giant and Dwarf] n. 114, GB 1896. - AA: A stunning record of a performance by artists.

Mauvaises herbes. Catalogue Lumière. Vue N° 64. “Des femmes font brûler dans un champ les mauvaises herbes mises en tas, et elles les retournent avec des fourches.” Une autre vue non cataloguée représente la même action dans un cadre différent. Cette vue, probablement tournée à La Ciotat, est la première version de ce sujet. Elle est projetée à Lyon le 29 mars 1896 sous le titre La Destruction des mauvaises herbes (Lyon républicain, 29 mars 1896), puis à Épinal : “Les Mauvaises herbes brûlent autour d"un bois, des paysannes les retournent sur le feu. À noter la fumée qui les voile parfois aux yeux, et le vent qui soulève leur tablier. Le patron se promène sur la lisière à l"ombre. Feignant.” (Le Mémorial des Vosges, Épinal, 25 juin 1896). Cet article indique la présence d"un patron qui se contente de regarder la scène, ce qui correspond à la version non cataloguée. En revanche, dans la vue n° 716, l"homme qui apparaît dans le champ jette des herbes dans le feu depuis une charrette. Il s"agit certainement d"un remake, mais rien ne permet de déterminer de quelle version Auguste Lumière est l"auteur. Opérateur: [Auguste Lumière]. Date: [16 janvier 1896] - [1er mai 1897]. Lieu: France, [La Ciotat], [Clos des Plages]. Projections: Programmation de Mauvaises herbes le 4 janvier 1897 à Auxerre (France) (L"Indépendant Auxerrois, 4 janvier 1897). Eléments filmiques: négatif Lumière - 1 copie Lumière. Genre: travail. Sujet: agriculteur. Objet: machine et outil. Mauvaises herbes / [Burning Weeds] n. 64, [Auguste Lumière], [La Ciotat], FR 1896. - AA: A record of work. Simple and eloquent. 35 mm. Da: Institut Lumière, Lyon AA: Work and play. The accounts of hard work in Chargement du coke and Mauvaises herbes are eloquent. The workers are all women in both. Charcuterie mécanique is one of the earliest trick films. Géant et nain is a stunning straight record of a performance by two British music hall artists. In Course en sacks we see the Lumière workers at play. The captions are copied from the Catalogue Lumière website. There is little to add to those excellent remarks.

Sicario

Sicario / Sicario. US © 2015 Sicario Movie, LLC and Lions Gate Films, Inc. P: Basil Iwanyk, Thad Luckinbill, Molly Smith. D: Denis Villeneuve. SC: Taylor Sheridan. DP: Roger Deakins – source: ARRIRAW 3.4K – digital intermediate 4K – colour – 2,39:1 – release: D-Cinema. PD: Patrice Vermette. AD: Paul D. Kelly. Set dec: Jan Pascale. SFX: Stan Blackwell. VFX: ObliqueFX. Cost: Renée April. Makeup: Donald Mowat. Hair: Jennifer Bell. Prosthetic makeup: Caroline Aquin. Corpses: Adrien Morot. M: Jóhann Jóhannsson. S: Alan Robert Murray. ED: Joe Walker. Casting: Francine Maisler. C: Emily Blunt (Kate Macer), Benicio Del Toro (Alejandro), Josh Brolin (Matt Graver), Victor Garber (Dave Jennings), Jon Bernthal (Ted), Daniel Kaluuya (Reggie Wayne), Jeffrey Donovan (Steve Forsing), Raoul Max Trujillo (Rafael). Loc: Albuquerque (New Mexico), El Paso (Texas), Mexico City. In English and Spanish. Helsinki premiere: 18.9.2015 Kinopalatsi, released by: Nordisk Film Theatrical Distribution Oy – DCP – MEKU K16 – 121 min 4K DCP from Nordisk with Finnish / Swedish subtitles by Jaana Wiik / Ditte Kronström viewed at Cinema Orion, Helsinki (Jatkoaika / Extra Lease of Life), 27 May 2016 Background: the Mexican Drug War. Since the demise of the Colombian drug cartels in the 1990s the Mexican ones have been dominant. The death toll has been some 150,000 killed. Earnings from drug sales may be as high as 40 billion dollars annually. Many quality cinemas (Maxim, Engel, Rex) are temporarily closed in Helsinki which has few cinemas left anyhow. That is why we have this summer a special feature, "an extra lease of life", for distinguished new releases which would have deserved many more weeks of showtime in theatres. Denis Villeneuve"s acclaimed Sicario, based on the screenplay by Taylor Sheridan, is a powerful account of the Mexican Drug War as seen from the American side. Against the paramilitary action of the drug cartels is organized a special task force which is not official although it is generously funded by the U. S. Government. The task force violates the law at all stages. The outsiders, Kate Macer (Emily Blunt) and Reggie Wayne (Daniel Kaluuya) are committed to play by the book, but they are only used as an official front by the seasoned veterans of the task force, Matt Graver (Josh Brolin) and Alejandro (Benicio Del Toro). Kate and Reggie are appalled at what they see. It turns out that Alejandro is also a veteran of the 1990s Colombian drug cartels and that the Mexican cartel boss Fausto Alarcon has had Alejandro"s wife"s throat cut and his daughter thrown to a vat of acid. Sicario means "a hitman". The hitman is Alejandro who as a consequence of the ingenious ruse of the task force finally confronts Alarcon and his family at dinner. Sicario turns out to be a revenge story. Revenge is not justice. It is the opposite of justice. It means a continuing spiral of often escalating violence, which is exactly what has happened in the Mexican drug war. In the finale Alejandro advises Kate to "move to a small town where a rule of law still exists". "This is a land of wolves now". Those are the words of the exgangster who is now a gangster on the U.S. Government payroll. Alejandro and Matt have turned cynical operating in a gray zone where they resort to the same methods as their adversaries, including torture and murder. I was thinking about the Twilight series where all are vampires and no counterforce remains. The account of the surveillance methods of the special task force is amazing. They are overwhelmingly superior, but are they achieving lasting success? Sicario has been compared with The Silence of the Lambs, and Emily Blunt in the leading role is excellent, but her role is underwritten. The power of darkness on both sides is overwhelming. Sicario is a political thriller with a strong aspect of the horror film starting with the discovery of a secret prison with dozens of corpses of tortured and mutilated prisoners in Arizona. The powerful, elementary score by Jóhann Jóhannsson is of the highest order. The soundscape designed by Alan Robert Murray contributes essentially to the atmosphere, especially noticably in passages of zero visibility. Denis Villeneuve has created an original visual look to the movie together with his cinematographer Roger Deakins, the trusted DP of the Coen brothers. There is a firm center of fully photorealistic imagery and a rich variety of special approaches including sun-bleached footage, grim horror darkness, stunning aerial footage, grand epic views of Mexico, split screen surveillance footage, and a long night sequence shot in a simulation of infrared vision. The negative footage brings to mind Murnau"s Nosferatu and its sense of a zone between life and death, also relevant in Sicario. We have entered a world of the undead. The 4K digital performance is excellent. The visual base with the fine, rich, and full detail is essential for the pictorial range where also low definition is used in key sequences as a means of expression. P.S. 29 May 2016. The War on Drugs and the Mexican Drug War are some of the most epic projects of law enforcement in history. Much has been accomplished, yet it does not look like these wars can be won. Like everybody in my generation I know many who have died or whose life has been irrevokably ruined by drugs. Yet I tend to think more and more: "legalize it". It is a similar situation as was with Prohibition. In Finland we had prohibition simultaneously with the U.S. It was a golden age for crime and violence. In Finland we are following an epic multi-year trial case against a former narcotics police chief who is accused of having acted as a hidden boss of illegal drug traffic and related crimes. This is a serious blow to Finns as we are proud of our low corruption level. The difference with the Mexican Drug War is that no violent crime is involved. A book on my nighttable is the modern classic by Daron Acemoglu and James A. Robinson: Why Nations Fail: The Origins of Power, Prosperity and Poverty (2012). One of its key locations is the border between Arizona and Mexico - the location of Sicario. The book is about the curse of oligarchy; without abolishing a structure of oligarchy a nation is bound to fail. One can predict no good outcome for the Mexican Drug War. Only an ongoing bloodshed. A striking feature in that war is the taste for executions, "take no prisoners". In regular war there are many times more wounded in ratio to casualties. Mexicans have protested against the presentation of Mexican authorities in Sicario, as if the combat against Mexican drug cartels were mostly or entirely an U.S. American affair. In fact Mexico is engaged in a ferocious war against the cartels, in full military mobilization. OUR PROGRAM NOTE FROM MARK OLSEN: OUR PROGRAM NOTE FROM MARK OLSEN: Yhdysvaltain ja Meksikon välistä rajaa käsitellään tavallisesti kirjaimellisena asiana, rajaviivana, jolle on mahdollista rakentaa muuri. Sicariossa raja on käsitteellisempi ilmiö: pelon ja usein väkivaltaisen muodonmuutoksen vyöhyke. Kun tekstiplanssi kertoo meille aluksi, että Meksikossa sicario tarkoittaa palkkatappajaa, pahaenteisen vaaran sävy syntyy välittömästi. Denis Villeneuven Taylor Sheridanin käsikirjoituksesta ohjaama elokuva onnistuu olemaan samanaikaisesti tiukka ja rönsyilevä, määrätietoinen ja salamyhkäinen, usein samassa kohtauksessa. Niin kutsuttu sota huumeita vastaan ei näyttäydy niinkään taisteluna, joka on mahdollista voittaa, kuin eksistentiaalisena miinakenttänä, jonakin mikä imee sisäänsä nekin ihmiset, joiden aikeet ovat kaikkein parhaat. Emily Bluntin, Benicio Del Toron ja Josh Brolinin juurevat pääosasuoritukset kantavat Sicariota, joka on sekä vetävä toimintaelokuva että hätkähdyttävä tutkielma maailmasta, jossa oikean ja väärän käsitteet ovat muuttuneet jokseenkin merkityksettömiksi. Enää on kyse vain eloonjäämisestä ja jatkuvasta liikkeestä eteenpäin. Kate Macer (Blunt) on FBI:n agentti, jonka tehtävänä on etsiä meksikolaisten huumekartellien kidnappaamia uhreja Yhdysvaltain lounaisissa osavaltioissa. Hänelle ehdotetaan vapaaehtoista tehtävää virastojen yhteisessä erikoisryhmässä; virallista toimeksiantoa ei ole mahdollista antaa. Kate hakeutuu ryhmään toivoen voivansa vaikuttaa asioihin paremmin, mutta pian käy ilmi, ettei mikään ole niin kuin hänelle on kerrottu. Matt Graver (Brolin) on valtion virkamies, jonka toimeksianto on hämäräperäinen. Virallisesti hän on ”neuvonantaja”, mutta tällä yllättävällä provokaattorilla tuntuu olevan runsaasti voimavaroja ja vapaat kädet toimia. Alejandro (Del Toro) esitellään ”lintukoirana”, mutta pian selviää, että hän on enemmän kuin sitä. Yhdysvaltain ja Meksikon välillä vapaasti liikkuvan trion tehtävänä on häiritä rahan ja huumeiden virtaa, jotta meksikolaisen kartellin ylin johto sotkeutuisi kuvioissaan ja paljastaisi itsensä. Sheridanin käsikirjoitus tuntuu pitävän Meksikoa ja sen kansaa tarkoituksellisesti välimatkan päässä. Meksikolaisen poliisin perhettä käsittelevät kohtaukset tuntuvat olevan mukana lähinnä rakenteen kokonaisuuden kannalta. Elokuvaa nostavat erityiseen arvoon ennen muuta sen osasuoritukset. Blunt, joka varasti shown Tom Cruiselta tämän omassa tähtielokuvassa Edge of Tomorrow, osoittautuu jälleen yhdeksi tämän päivän monipuolisimmista ja vakuuttavimmista näyttelijättäristä. Hän luo henkilöhahmon, joka on kuin nykyajan Uhrilampaiden Clarice Starling, tulokas maailmassa, joka on kaukana siitä, mihin hänet on koulutettu, mutta kykenevä sopeutumaan sen outoihin tapoihin. Del Toro ei ole sovinnainen tähti vaan muuntautumiskykyinen näyttelijöiden näyttelijä. Hän tuo tarinaan koko eksentrisen, sielukkaan ja hallitsevan läsnäolonsa. Brolin on vakuuttava agenttina, jonka tehtävänä on horjuttaa huumekartellin täydellistä koneistoa niin, että sen laakerit alkavat reistailla. Sieluttomien byrokraattien virastossa näemme Brolinin jalassa varvastossut. Rajavyöhykkeellä agenttimme maastureissaan juuttuvat valtaisaan ruuhkaan. Villeneuve rakentaa tästä vuoden jännittävimpiin kuuluvan takaa-ajokohtauksen, vaikka autot eivät liikahda paikaltaan. Erityisen ansiokasta on Roger Deakinsin kuvaustyö yön tummissa sävyissä. Joe Walker leikkaa saumattomasti yhteen erilaisia kuvamaailmoja, ja Jóhann Jóhannsson luo erikoisen, sykkivän musiikkimaailman. Elokuva Sicario sijoittuu omalle rajavyöhykkeelleen taide-elokuvan ja toimintaelokuvan välimaastoon. Missään tapauksessa se ei väitä tarjoavansa vastauksia, ja se tuntuu vihjaavan, että voi olla vaikeaa edes käsittää, mitä oikeat kysymykset saattaisivat olla. Kun Kate kysyy Alejandrolta toimeksiannon yksityiskohtia tämä vastaa arvoituksellisesti: ”Kysyt minulta, miten kello toimii. Tästä lähtien kiinnitä huomiota vain aikaan”. Kate haluaa oppia tuntemaan systeemin. Lopussa hän ymmärtää, että kaiken toimimattomuudesta ja intressien ristiriitaisuudesta johtuen mitään systeemiä ei ole olemassakaan. – Mark Olsenin mukaan (Los Angeles Times, 17.9.2015) AA 27.5.2016 MARK OLSEN, LOS ANGELES TIMES, 17.9.2015 Review: Tension crackles across the many borders of ‘Sicario’ The border between the United States and Mexico has been interjected into the national conversation as a literal thing — a line where a wall can be built. But in the new film "Sicario," the border is more conceptual than that, a zone of anxiety and often violent transformation. A title card at the beginning of the film announces "In Mexico, Sicario means hit man," setting an immediate tone of ominous danger. Directed by Denis Villeneuve from a script by Taylor Sheridan, the film manages to somehow be sleek and sprawling, focused and cagey at the same time, often in the same scene. The film portrays the so-called war on drugs not as a battle to be won but as an existential minefield, something that sucks in people with even the best of intentions and turns their world inside-out. With a central trio of powerful, deeply rooted performances by Emily Blunt, Benicio Del Toro and Josh Brolin, the film is both a bracing action picture and a startling examination of a world in which right or wrong have become essentially irrelevant. There is only survival and forward motion. Kate Macer (Blunt) is an FBI agent assigned to tracking down kidnapping victims of Mexican drug cartels in the American Southwest. Early on it is suggested that she volunteer — she can"t be officially assigned, she must volunteer — for an interagency joint task force. She joins in hopes of making a bigger difference and quickly finds out nothing is as she was told it would be. Matt Graver (Brolin) is a government agent of shadowy provenance, officially an "advisor," yet as a playful provocateur he seems to have vast resources at his disposal and free rein in the field. Alejandro (Del Toro) is introduced first by Graver as a "bird dog" but reveals himself to be much more than that. Moving freely back and forth between the U.S. and Mexico, the trio are trying to disrupt the flow of money and drugs in hopes of causing higher-ups in the Mexican cartel to make a mistake and reveal themselves. Sheridan"s script seems to purposefully keep Mexico and its people at arm"s length, largely an abstraction. A series of scenes involving a Mexican cop and his family feel architectural, there for reasons of structure and a passing consideration rather than organic to the storytelling. See the most-read stories in Entertainment this hour >> The film is elevated most by its performances. Blunt, who handily stole last year"s Tom Cruise action vehicle "Edge of Tomorrow" from its star, again proves herself as one of the most versatile and compelling actresses today. Here she shapes her character as something of a modern-day Clarice Starling from "The Silence of the Lambs," an initiate to a world far removed from the one she trained for yet capable of adapting to its unfamiliar ways. Though an Oscar-winner for "Traffic," a film to which "Sicario" bears some comparison, Del Toro remains less a conventional star than a transformative actor"s actor, and here he brings his full eccentric, soulful, commanding presence. He credibly creates a character who can shoot someone and still seem sympathetic both to that character and the audience. With a wicked, manic charm, Brolin"s character declares his mission to be simply to "create chaos," hoping to disturb the finely honed machinery of the drug trade just enough to cause gears to slip and panicked mistakes to be made. Villenueve"s economic storytelling conveys much about the character with a simple pan down to reveal Brolin sitting at a conference table in a soulless government office wearing flip-flops. The film"s most hair-raising set piece occurs when a convoy of SUVs becomes stuck in traffic at the border crossing on its return to the U.S. from a visit to Juarez, moving targets made still. Ratcheted by a tortuous tension and sense that danger is possible on all sides, it is among the best action scenes of the year — and the cars are at a standstill. Special notice must go to cinematographer Roger Deakins, whose work on Villeneuve"s previous film, "Prisoners," counted for one of his 12 Oscar nominations. Here Deakins captures the daybreak/sundown slippage between light and dark, with frequent shots of a sky transitioning from shadowy blue to a tangy orange. In one moment he perfectly frames a character walking into a tunnel backlit against the opening, effectively making a spotlight for a drawn knife that seems to be heading straight for the viewer. A subsequent shootout seamlessly weaves between night-vision, thermal images and a conventional view, aided immeasurably by editor Joe Walker. The film"s score by Jóhann Jóhannsson creates a throbbing, underlying tightness throughout. By turns thrilling, disorienting and draining, "Sicario" exists in a border zone seemingly of its own devising between the art film and the action movie. This is definitely not a film that pretends to have any answers and suggests it"s a struggle to even fully understand what the right questions might be. Shortly after they first meet, Kate asks Alejandro for details of their assignment. "You"re asking me how a watch works. For now, just keep an eye on the time," he responds enigmatically. By the end of the film, she will understand how the system works, in that its dysfunction and conflicting interests is no system at all. Twitter: @IndieFocus -----------"Sicario" Rated: R for strong violence, grisly images and language Running time: 2 hours and 1 minute Playing: Limited release

JORGE MOURINHA in THE FLICKERING WALL Monday, October 19, 2015 SICARIO Let us bring up again that old Eliot chestnut, "the world won"t end with a bang, but with a whimper", to remind us that Sicario begins with a bang (or rather, several), as a FBI SWAT team enters an Arizona charnel house of horrors, only to end, two hours later (and this is no spoiler) with a distraught, whimpering FBI agent asking what did she just live through. We can ask the same question ourselves: what were we just hit with? Sicario systematically puts up a genre scaffold, a framework that lures the viewer in, and just as systematically tears it down with each new development until its nominal heroine, a door-busting, no-nonsense FBI agent named Kate Macer and playes vibrantly by Emily Blunt, is left hanging from what"s left by the skin of a finger nail. (It"s a metaphor. There are no cliffhangers like that in the film.) The warning this is going to happen is, actually, perfectly enunciated by Benicio del Toro about a third of the way into the film: "Nothing will make sense to your American ears, and you will question everything you do. But, in the end, you will understand." And understand we do, in Denis Villeneuve"s brilliantly dark and almost hopeless drug-war thriller, synthesizing a resolutely contemporary take on one of American cinema"s most hardened tropes, the twisty thriller following a hero in search of justice. Taylor Sheridan"s script is incredibly ambitious in its attempt to dramatize the many tentacles of contemporary drug trafficking, using as his way in Ms. Blunt"s character, an agent who has been on the frontline of chasing drug and people traffickers assigned to an undercover operation to neutralize a Mexican kingpin where the book everything is supposed to be done by has just gone out the window. It falters uneasily when it tries to give a voice to the Mexicans who suffer the most from the drug war - a subplot about a Mexican cop on the take is so bare-bones it"s almost cringeworthy, and nearly all of the characters on the Latino side of the border are purely functional archetypes not given much thought. But Mr. Sheridan packs a mean punch when it comes to fingering the political aspects the thing takes on the American side, designing a quicksand swampland of loose morals and means-justifying-the-end ironically set in the desert lands of Arizona, Texas and Mexico. Roger Deakins" roving camera, a surveillance object if there ever was one, moves implacably, almost inexorably above and on the surface of this desert, where derelict cars do double duty as entrances to a hellish underworld, coyote holes into which Kate is about to fall through like Alice on the other side of the lookingglass. Down is now up, left is now right, "truth, justice and the American way" quietly devolving into an almost lawless New Wild West, as seen through the getthe-job-done credo of Kathryn Bigelow"s Iraq war films and the cool, professional sheen of Michael Mann"s contemporary noirs. Mr. Villeneuve may clearly be trespassing onto Steven Soderbergh territory here; Sicario could be a more focussed Traffic minus the mosaic plotting, but in fact there"s more in common with the Canadian helmer"s earlier Prisoners in the earnestness with which it approaches its tale (though, for my money, Sicario is the better film). I can"t help but think of Mr. Villeneuve as an equivalent to Christopher Nolan: in an American film landscape where most everyone seems concerned with making entertainment, both directors are aiming for a scope and approach that is serious, certainly thoughtful, occasionally stern in its moralist approach, but trying to approach serious issues within an arena of genre filmmaking while refusing simple, black and white dichotomies. Sicario is notable for its refusal to sugarcoat the pill - there"s a starkness, a darkness to the film, borne out of the disenchantment in its tale, of its realization there can be no escape from this vicious circle. Unlike the liberal thrillers of the 1970s (another reference all too present), where things were done with a view to making sure things got better, Sicario offers no easy fixes, no comforting solutions; this isn"t going away and all we can do is contain it. The beating tempo editor Joe Walker creates highlights the fact that every new piece of the puzzle isn"t going to fit neatly, everything is a challenge that changes the image you"re trying to build. Halfway through the film"s taut two-hour running time, you"ve lost all landmarks and are merely being buffeted back and forth by the twisting and turning plot, left as much in the dark as its heroine is, even though the director can"t occasionally help tease the viewer with information hidden from her. After all, everything happens above her paygrade. Not everything works in Sicario, for sure; it certainly may not be the most original or illuminating take on its hot-button subject. But it"s a smart, thoughtful, thought-provoking one, and above all a formally masterful feat of control and command from the director and his crew, turning the landscapes of Arizona and Mexico into a sort of parched, desolate, apocalyptic territory where nothing can survive but bloody violence. A place where the world does not end with a bang as much as it dries out with a whimper, all love and emotion wizened and worn out by weather until nothing is left but the desert. And it"s a desert. SICARIO US, 2015, 121 minutes Starring Emily Blunt, Benicio del Toro, Josh Brolin, Victor Garber, Jon Bernthal, Daniel Kaluuya. Directed by Denis Villeneuve; written by Taylor Sheridan; cinematography by Roger Deakins (widescreen); music by Jóhann Jóhannssón; production designer Patrice Vermette; costume designer Renée April; editor Joe Walker; produced by Basil Iwanyk, Edward R. McDonnell, Molly Smith, Trent Luckinbill and Thad Luckinbill, for Lionsgate, Black Label Media and Thunder Road Pictures. Screened October 8th 2015, UCI El Corte Inglés 12, Lisbon, distributor press screening.

TODD MCCARTHY THE HOLLYWOOD REPORTER CANNES REVIEW Sicario": Cannes Review 1:31 AM PDT 5/19/2015 by Todd McCarthy A searing and superbly made drug cartel drama TWITTER Emily Blunt and Josh Brolin star in Denis Villeneuve"s thriller about the inter-American drug trade. The violence of the inter-American drug trade has served as the backdrop for any number of films for more than three decades, but few have been as powerful and superbly made as Sicario. Drenched in many shades of ambiguity as it dramatizes a complex U.S.-led effort to take out a major Mexican drug lord south of the border, Denis Villeneuve’s intensely physical new work is no less disturbing than his previous features Prisoners and Incendies and should be able to generate midlevel business akin to the former due to its relatable lawman (and law-woman) elements. After world premiering it in competition at the Cannes Film Festival, Lionsgate will hold back the domestic commercial release until Sept. 18. An opening note explains that “sicario” is cartel slang for hitman, derived from a term dating to ancient Jerusalem describing hunters of Romans. Loosely used, it’s a word that could apply to almost every character in this tense tale, which is not difficult to follow even if it does demand that close attention be paid. The script by first-time screenwriter Taylor Sheridan, who played Deputy Hale on television’s Sons of Anarchy until the character was killed off at the beginning of the third season, quickly establishes an environment in which everyone is capable of killing or being killed, as well as a roster of characters for whom the labels "good guy" and "bad guy" are so relative as to essentially become irrelevant. Effectively operating as the audience’s surrogate is Kate Macer (Emily Blunt), a first-rate FBI agent specializing in kidnapping cases, who, with a SWAT team, discovers a “house of horrors” in which dozens of rotting corpses wrapped in plastic are hidden behind the walls. The house is owned by the Diaz family, a Sonora cartel operating on both sides of the U.S./Mexican border. Kate kills one bad dude herself during the operation, which is considered so successful that she’s paged to join a secret American task force whose mission is to lop off the Diaz clan’s head. Working in league with the Mexicans while knowing full well how compromised many of their security forces are, the Yank team welcomes its first female member (her black partner, played by Daniel Kaluuya, isn’t selected although he still goes along for part of the ride). But its on-the-ground leader, Matt (Josh Brolin), amuses himself by explaining as little as possible to Kate about what’s going on as they fly off in a private jet. In a terrifically orchestrated set piece, the Americans cross in a huge caravan from El Paso to Ciudad Juarez, navigate through dicey neighborhoods in which naked mutilated bodies hang upside-down from an overpass, extricate their prey from prison, then get stuck in horrendous traffic near the border crossing as menacing tattooed guys with guns materialize from a nearby car. Villeneuve and cinematographer Roger Deakins worked brilliantly together on Prisoners while employing a very dark palette of blacks, grays and deep greens. Their collaboration here is equally great in a story and setting defined by parched desert tones, cheap and impermanent buildings, and vast, pale blue skies. A preponderance of scenes involves information haves and have-nots, or situations where charatcers" motives are unclear. The blocking, framing and use of lenses accentuate these disparities in ways that expertly heighten the tension and sense of uncertainty. There are also terrific aerial shots that show the border, including portions of the American-built fence, with great vividness. The character who’s most often, and intentionally, kept in the dark about what’s going on is Kate. Far from being a naive greenhorn, she’s already somewhat embittered (she’s divorced with no kids) and has trouble sorting out the chain of command, much less what’s expected of her. One of the big wheels in the heavily militarized operation is the world-weary Alejandro (Benicio Del Toro), a native Colombian said to have formerly been a prosecutor in Mexico, who warns her that, “Nothing will make sense to your American ears. By the end, you will understand.” Sicario offers Blunt’s character nothing in the way of military challenges that can quite rival what the actress took on last year in Edge of Tomorrow. Instead, she provides a sharply penetrating reading of a smart, resilient young woman whose desire to help out is no match for the deceptions and frustrating barriers placed in her way. Seeing how much she has to contribute — to the missions at hand, to the country, to a personal relationship — it’s sad bordering on tragic to think that she could end up as just another potential victim of an unending war that, in one way or another, poisons everyone it touches. Blunt’s performance is first-rate. There is plenty of heavy-duty action here, probably enough to sate audiences with genre appetites. But this is not a film in which a few heavily armed gringos can just strut into Mexico and take care of the problem with a few blasts of their big guns. The macho guys and the armaments are here, all right, but Sicario very clearly makes its point about how deeply the roots of corruption are embedded in the soil of Mexico and the American Southwest. And, via Alejandro, it underlines how the problem has moved north, from Colombia up to Central America, Sonora and the American border. In the end, Kate’s desire to build a prosecutable case is trumped by jurisdictional issues, realities on the ground and personal vendettas, which are abiding. Good and legal intentions are as nothing in this world. “This is the future, Kate,” Matt advises her, and even when she briefly seeks a little personal R&R with a macho guy in a bar (Jon Bernthal), things are not what they seem. How can an honest woman win? How can the U.S. retain a semblance of virtue in such a struggle? How can Mexico and countries further south diminish this curse? How can the contamination of drugs and blood money be reversed? Such are the questions the film acutely raises and that no one can properly answer. Unlike Blunt’s more dimensional Kate, the male characters are so prevented from showing their true selves by the professional roles they have taken on that they must remain a bit opaque. But from a behavioral point of view, the cast is outstanding. Excellent as the real-life drug lord in the as-yet unreleased Escobar: Paradise Lost, Del Toro underplays to strong effect here as a mysterious man clearly vying to live as many lives as a cat. Brolin is most engaging as the operations chief who bounces between laid-back somnolence and gung-ho exuberance at the flick of a switch, while Victor Garber properly plays the American boss man with intriguing opaqueness. Shot in New Mexico, the production has been superbly decked out in every department. But special note must be made of the brilliantly idiosyncratic and disturbing score by Icelandic composer Johann Johannson, which cranks up the unease of key scenes with an electronic bass wallow that then descends to seemingly impossible depths of apocalyptic dread. Production companies: Black Label Media, Thunder Road Pictures Cast: Emily Blunt, Benicio Del Toro, Josh Brolin, Victor Garber, Jon Benthal, Daniel Kaluuya, Jeffrey Donovan, Raoul Trujillo, Julio Cesar Cedrillo, Maximiliano Hernandez Director: Denis Villeneuve Screenwriter: Taylor Sheridan Producers: Basil Iwanyk, Edward L. McDonnell, Molly Smith, Thad Luckinbill, Trent Luckinbill Executive producers: John H. Starke, EricaLee, Ellen H. Schwartz Director of photography: Roger Deakins Production designer: Patrice Vermette Costume designer: Renee April Editor: Joe Walker Music: Johann Johannson Casting: Jo Edna Boldin, Francine Maisler Rated R, 121 minutes ANTHONY LANE THE NEW YORKER Dark Places “Sicario.” By Anthony Lane 09_21_15 What does Denis Villeneuve do for fun? Does he know what fun is? Hard to say, but it’s not an aspect of life that looms large for the people in his films. Sitting down to a triple bill of “Incendies” (2010), “Prisoners” (2013), and “Enemy” (2013) is like putting yourself on a diet of Kafka and late-period Thomas Hardy; Villeneuve’s characters seem to proceed on the weary assumption that fate is stacked against them. That holds true for his latest movie, “Sicario,” which barely raises its hopes and, despite being set along the border between the United States and Mexico, shows no inclination to lift its face to the sun. Emily Blunt plays an F.B.I. agent named Kate Macer, who runs a kidnap-response squad. In the opening scene, she and her colleague Reggie (Daniel Kaluuya) lead an assault on a house in Chandler, Arizona, hunting for hostages but finding only bodies. Stacked upright inside the wall cavities, like corpses in an ancient catacomb, these are victims of the drug cartels that ply their unmerciful trade across the frontier. All that Kate can do, most of the time, is clean up the mess; far more satisfying would be a blow struck against its source, and her chance arrives when she is assigned to a new and unusual outfit. It bears no official name, but Kate finds herself moving in a mist of initials: C.I.A., D.E.A., and swat teams at the ready. Her contact is Matt (Josh Brolin), who grins a lot, wears flip-flops around the office, and can split an infinitive wide open. Asked his objective, he replies, “To dramatically overreact.” The plan is to lure a cartel bigwig, Manuel Díaz (Bernardo Saracino), out of the shadows by transporting his brother, another ne’er-do-well, from a Mexican jail and onto U.S. soil: a quiet little affair, involving a fleet of black vehicles stiff with special forces. Villeneuve’s coup is to prepare us for a car chase and then bring the whole thing to a juddering halt. If you ever get glued into a traffic jam, in hostile territory, this, according to “Sicario,” is what you do. First, you play spot-thehoodlum with the surrounding cars: “Red Impala, two lanes left.” “Seven o’clock, green Civic.” Then you open fire at anything you don’t like the look of—pretty much how most of us would behave at rush hour, in gridlock, if we weren’t too busy fiddling with our cup holders. As for the guys who get shot, Kate is told, “They won’t even make the paper in El Paso.” That may be the most troubling side of “Sicario”: a growing awareness that the currency of life is being devalued. Hence the convoy’s tour of Juárez, the town where Díaz’s brother is held, and where mutilated figures are hung as warning signs from an overpass. In dumber action films, we scarcely flinch as villains are wiped out; the wiping, indeed, viewed with a boisterous crowd on a Friday night, becomes a comic spree. That is not Villeneuve’s way. The prospect of human cheapening nags at him, and the burden of his conscience is carried, in this movie, by Kate. “I want to follow some kind of process,” she says, only to learn that the rules are not just flouted but leached of meaning in the zone where the drug wars are waged. “Nothing will make sense to your American ears, and you will doubt everything we do”: those are the catechistic words of Alejandro (Benicio del Toro), who is also attached to the anti-cartel troupe. His record, his family, his current employer, and even his country of origin begin as mysteries, and gradually emerge as the film slides by. By the end, we still can’t be sure to whom, or to what cause, he answers. The code of him remains uncracked. This is ideal for del Toro, who always gets scarier when his gestures outnumber his lines, and when his lines have you leaning forward to listen. He dramatically underreacts. Late one night, faced with busloads of Mexican immigrants held by the U.S. authorities and patiently biding their time, Alejandro squats down and softly questions them in Spanish, hunting for whispers of information. Even his violence has a strange economy: he torments one suspect not by punching him but simply by wetting a finger and worming it deep into the poor fellow’s ear. Likewise, although we don’t actually witness what he does to Díaz’s brother, in an interrogation room, the ease with which del Toro comes in swinging a full, multi-gallon bottle of water, taken from the office cooler, supplies all the menace we require, and it acts as a foil to the more genial toughness of Brolin’s Matt. The only hitch here is Emily Blunt. The task of her character is to protest and to put questions, trying to work out why she was asked to string along, and the truth, once revealed, is no big deal. That isn’t enough, I think, for an actress who seems constitutionally wiser than the folks around her. In her low-lidded gaze, and in the permanent rumor of a smile on her lips, we catch hints of someone determined to be more amused than bored by the world, though never so crass as to be wowed. Nobody writes leading roles for such an actress any more, in the way that Ben Hecht (with help from Dorothy Parker, Moss Hart, and others) wrote “Nothing Sacred” for Carole Lombard; that’s why the best of Blunt resides in her bit parts, in “The Devil Wears Prada” and “Charlie Wilson’s War,” and in the astonishing scene from “The Adjustment Bureau,” in the bathroom of the Waldorf-Astoria, in which she goes from meeting Matt Damon to smooching him in three minutes and twenty seconds. Who else could do that and get us to believe it? What do you do with a performer who makes a kiss look as easy as a laugh, and vice versa? What you don’t do is give her a gun, erase the bloom from her cheeks, and command her, at all costs, to keep a straight and stony face. Yet that is what Blunt has undergone of late, first in “Edge of Tomorrow” and now in the dauntingly humorless “Sicario.” She makes a decent action heroine, never less than pained and strained, but for her it’s like playing a single octave on the piano. There is one sequence in which Kate drinks, dances, and lets her hair down, but it soon turns predictably sour, as though she were being penalized for flirting with the mere possibility of joy—a serious faux pas in a place that Alejandro calls a “land of wolves.” Orson Welles covered the same land, on the same porous border, in “Touch of Evil,” and the stink of corruption that rose from it was as rank as that of “Sicario”; yet he also found space for bitter comedy and even amorous regret, whereas Villeneuve dares not release his characters from their chains. Consider Silvio (Maximiliano Hernández), a Mexican citizen whose fortunes we follow from the start. He talks to his young son, whom he clearly loves, and promises to play soccer with him soon, but we realize that Silvio has something to contribute to the plot, and we fear—as Villeneuve invariably wants us to fear—the worst. Do father and son ever get to play that game together? You guess. If “Sicario” does not collapse under its own grimness, that is because of the pulse: the care with which Villeneuve keeps the story beating, like a drum, as he steadies himself for the next set piece. I especially liked the nocturnal raid on a tunnel, used by the cartels to ferry narcotics and assailed by Matt, Alejandro, and a bunch of U.S. operatives, with Kate and Reggie, her friend from the F.B.I., bringing up the rear. Aside from the pops and blasts of weaponry (described by Matt as “the Fourth of July on steroids”), the scene is so confoundingly dark that, in a near-parody of Villeneuve’s style, we observe it through not one but two forms of night vision: a thermal blur of monochrome, plus a grainy green-and-white. The director of photography is Roger Deakins, who both refines and redeems “Sicario” by unearthing a kind of difficult beauty in the most unpromising of locations and in the most desperate of straits. The landscape over which Kate flies, at the outset of her mission, could be an alien planet, with its swirling patterns of rock, were it not for the tiny shadow of the airplane passing across them like a bug. “Want to see something cool?” a member of the team asks, before taking her up on a roof, under an infuriated sky, and pointing out the explosions and crackles of gunfire that signal the fall of night in Juárez. Best of all, as the American forces walk toward that fateful tunnel, the day is dying behind them, and they are silhouetted against its fiery orange and rose. They wear high-tech helmets, with cameras mounted on them, yet we somehow expect to see cowboy hats and the nodding head of a horse. At such moments, “Sicario” feels like one of the last Westerns: tense, forbidding, and trapped on the fringes of the nation, in a battle that cannot be won. © A. O. SCOTT THE NEW YORK TIMES Review: ‘Sicario’ Digs Into the Depths of Drug Cartel Violence Directed by Denis Villeneuve Action, Crime, Drama, Mystery, Thriller R 2h 1m SEPT. 17, 2015 Photo Emily Blunt plays an F.B.I. agent in “Sicario,” Denis Villeneuve’s movie about drug violence. Credit Richard Foreman, Jr./Lionsgate Plenty of directors make violent movies. Denis Villeneuve makes movies about violence, which is not quite the same thing. A Canadian filmmaker equally comfortable in French and English, he is especially interested in preludes and aftermaths, in the tense moments before the eruption of violence and in the shock and confusion that follow. His framing, cutting and sound design evoke the feelings that motivate and arise from the shedding of blood: rage, grief, steely resolve and wild panic. Mr. Villeneuve’s 2009 feature, “Polytechnique,” was the almost unbearably meticulous reconstruction of an actual mass shooting at a Montreal university. He followed it with “Incendies,” a grim family chronicle set mainly in a thinly fictionalized Lebanon during that country’s long civil war. “Sicario,” his new movie, visits a different war zone: the United States-Mexico border, where the murderous business practices of the Mexican drug cartels threaten to bleed across the Rio Grande. The dry, menacing scenery surveyed in “Sicario” is real, of course, as are some of the aspects of its harrowing story. But the desert and the drug war — a landscape evoking old westerns populated with a new cast of outlaws and would-be sheriffs — has also become fertile pop-cultural ground. We know the territory, thematic and geographic, from “No Country for Old Men” and “Breaking Bad,” from “The Counselor” and “Traffic” and even “Weeds.” Mr. Villeneuve, aided by Taylor Sheridan’s lean script, Roger Deakins’s parched cinematography and Johann Johannsson’s slow-moving heart attack of a score, respects the imperatives of genre while trying to avoid the usual clichés. It’s not easy, and he doesn’t entirely succeed. But he’s also trying to scramble some of the usual codes, and to paint a morally complicated picture instead of restaging a morality play. “Sicario” tells the story of an ambitious operation undertaken by an alphabet soup of American law enforcement agencies against top-ranking members of the Sonora cartel. The action is viewed mostly through the eyes of Kate Macer (Emily Blunt), an F.B.I. agent who is brought into the plan for reasons she doesn’t quite understand. Nor is she given much information about what’s going on once she’s on board. Kate’s expertise is tactical. She and her partner, Reggie (Daniel Kaluuya), are SWAT-team specialists who, in the movie’s first scene, raid a house whose walls are filled with corpses, anonymous victims of the cartel who died horrible deaths before being sealed between layers of drywall. Two agents died in the raid, and payback is among Kate’s motives. She wants to get the guys responsible for killing her co-workers, she tells the guys responsible for the new task force. It’s not so simple, though. Her boss (Victor Garber) hands her over to a jaunty supervisor, Matt (Josh Brolin), whose organizational affiliations are unclear. (D.O.D.? C.I.A.? Something else? Are flip-flops part of the uniform?) Matt is all smiles, treating possibly extralegal combat missions like pickup basketball games and answering Kate’s earnest inquiries with mock-sheepish good humor. His closest colleague — minion? supervisor? consultant? evil twin? — is a more somber fellow known as Alejandro (Benicio Del Toro), haloed in sorrow and capable of extreme acts of brutality. Kate and Reggie are appalled to discover that their new assignment is being carried out with almost complete disregard for national sovereignty, the rule of law or basic human decency. As Alejandro suggests late in the film, there are no good guys and bad guys in this world, only packs of wolves competing for territory and dominance. “Sicario” suggests that United States government authorities are one such pack, acting not in the name of justice or security but rather of expediency and order. The idea that the war on drugs might be won is not something anyone takes seriously. The only question is how the forces are aligned and who is enforcing the rules of engagement. Recent Mexican films — including fictional features like Amat Escalante’s “Heli” and a number of brave and powerful documentaries — have examined how the drug trade and the power of the cartels have affected all aspects of life there. A subplot in “Sicario” concerning a Sonoran police officer and his family gestures in that direction, yet the film stays mostly in shallow action-thriller waters. Ms. Blunt is impressively glum and intense, but Kate is a bit of a blank, on hand as a filter through which the audience can scrutinize Matt and Alejandro, who are far more intriguing characters. Though maybe not quite intriguing enough. Mr. Villeneuve conjures an atmosphere of menace and pervasive cruelty, but after a while “Sicario” starts to feel too easy, less an exploration than an exploitation of the moral ambiguities of the drug war. We glimpse mutilated bodies hanging from bridges, hear stabbings and shootings just out of sight and study the face of a man whose family is being killed in front of him. But after a while these sounds and images start to feel like expressions of technique, and they become at once numbing and sensational, and instead of a movie about violence we’re watching another violent movie, after all. “Sicario” is rated R (Under 17 requires accompanying parent or adult guardian). Grave bodily harm, threatened and enacted. Sicario Director Denis Villeneuve Writer Taylor Sheridan Stars Emily Blunt, Josh Brolin, Benicio Del Toro, Jon Bernthal, Victor Garber Rating R Running Time 2h 1m Genres Action, Crime, Drama, Mystery, Thriller Movie data powered by IMDb.com Last updated: Mar 30, 2016 A version of this review appears in print on September 18, 2015, on page C11 of the New York edition with the headline: A Border Permeated by Brutality. Order Reprints| Today"s Paper|Subscribe

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