I first came across Teuvo Tulio in a piece of silent tosh called, in English, "The Gypsy Charmer". I thought at the time there was a touch of the Valentino's about him albeit younger, (he was only 17 at the time), and camper. He subsequently went on to a fairly lengthy career as a director of outrageous melodramas of which "Unelma Karjamajala" is one. It's a tale of rural passions that wouldn't disgrace King Vidor and, though made in 1940, the images look like they might have come from silent cinema while some of the situations could have come straight out of Griffith. Indeed the film's dramatic highlight is silent except for the music score. It was never likely that any of the cast , who emote in capital letters, would ever go on to international stardom, (sadly leading man Kaarlo Oksanen was killed the following year), yet all the performances are perfectly in keeping with the material while the cinematography, credited to Felix Forsman, Armas Fredman and Eino Heino, is often outstanding.
2 Reviews
Melodrama symbolism meltdown of Finnish countryside romantic mores
Bofsensai26 February 2017
Warning: Spoilers
Just wishing to add along with prior (to date) only other, fair and fine review here (by ms.roz), some highlights from my own continuing Finnish film odyssey appreciation:
in that the symbolism and allegory in this deep melodrama is thoroughly (meaning hokily!) enjoyable (meaning = highly bemusing): and that besides to enjoy rare, only appearance of ex Miss Europe (of two years earlier in '38) as blonde innocence defiled embodied in lead actress Sirkka Salonen, to also delight in sultry, smouldering bad gal brunette support actress, Kirsti Hurme, as the unrequited rival love interest of the lead actor anti-hero, Aarne (Kille Oksanen a.k.a. Aarne Ylitalon), too; she's even more arresting with all flashing, menacing ("black devil inside" light relief farmhand, Matti's taunt) eyes.
As like in one scene after having upbraided Sirkka for having effortlessly stolen away the flamboyant feudal lord's heart (er, lust!) after almost killing / running her over in his almost satanically driven galloping jalopy, so causing her to spill her Grandmother's carefully prepared basket of berries (yep, shades of big bad wolf and little Red - although here - blonde - Riding Hood), as Sirkka slopes off, Kirsti just briefly (before reel change) menacingly flexes the cow herding stick in her hands in threatening resentful jealousy. (It's fleeting, c. 16 mins. in, as - perhaps - too, ah, 'symbolic' for the times! Pity!). Mind you (plot spoiler alert = read no further): it's OK, coz she gets her comeuppance eventually, and it's she who slopes off - but: she's "sorry": so that's OK, then.
Soon after even mother of our anti-hero wisely warns now employed by him as 'servant': "Look after yourself, Sirkka; don't believe everything boys whisper in your ear", yet still 'comes' the 'spilling of the cream' jug scene, just afore wicked Aarne intends to so soon spill his own, er, 'cream' (geddit?!), in what these farm / land owning class arrogantly do to the country beauties they inveigle into their employ (latterly, out flows the 'dark' smoke from the phallic chimney of the fateful deflowering countryside hut) and that's despite his very own earlier 'wise' advice to her, anyway, at that first 'spilling of the berries' meeting: "A young pretty girl like you shouldn't have to think: just do what the old and the wise tell you to do." ! Aivan! (=Finnish, for 'precisely'!). So that later, in the key literal 'lamb to slaughter' = downfall allegory scene, Sirkka in, in effect, silent film style but accompanied by menacing Bach's Toccata and Fugue, perilously clambers down the rock face, raging waters below her, so to selflessly rescue a stray, lone - well, of course - lamb. (Ahhh - or should that be, 'Baaa' )
And true, not fair to give away any plot spoilers on this out and out melodramatically drenched, although unusually for director Tulio, not quite doomed romance, of fallen (used and deserted!) naive country gal still comes good eventually, that as presumably through her constant religious supplication: but, indeed, is rendered literally enlightened, in the end, through superb symbolic stuff throughout from director Tulio! (somewhat also written by him, although from adapted play (by Henning Ohlson) / screenplay with Ivar Johansson.)
Whew: those Finnish inter war year's audiences must have been well assured. (Apparently, his films were fondly recalled by those that originally went to see them on the big screen = courtesy interviewer/researcher Anu Koivanen.)
And then, as for the almost incidental plot (side)line involving a return, not quite of the prodigal, but kidnapped (by passing, ah, 'travellers'*) son all on his lonesome (He's only SIX -although does have 'Karo' the dog with him!) in the 'wolf' and danger stranger (er 'gypsy'?!*) land of the then wartime Finnish countryside ... = well, simply, ah, 'happily ever after' preposterous. (Thank goodness for convenient birthmarks, though, huh?) (*how on Earth did they get away with such out and out ethnic racism assumption?!)
So, if you appreciate romantic melodrama, this is an absolute must to see: otherwise, amusing utter tosh!
in that the symbolism and allegory in this deep melodrama is thoroughly (meaning hokily!) enjoyable (meaning = highly bemusing): and that besides to enjoy rare, only appearance of ex Miss Europe (of two years earlier in '38) as blonde innocence defiled embodied in lead actress Sirkka Salonen, to also delight in sultry, smouldering bad gal brunette support actress, Kirsti Hurme, as the unrequited rival love interest of the lead actor anti-hero, Aarne (Kille Oksanen a.k.a. Aarne Ylitalon), too; she's even more arresting with all flashing, menacing ("black devil inside" light relief farmhand, Matti's taunt) eyes.
As like in one scene after having upbraided Sirkka for having effortlessly stolen away the flamboyant feudal lord's heart (er, lust!) after almost killing / running her over in his almost satanically driven galloping jalopy, so causing her to spill her Grandmother's carefully prepared basket of berries (yep, shades of big bad wolf and little Red - although here - blonde - Riding Hood), as Sirkka slopes off, Kirsti just briefly (before reel change) menacingly flexes the cow herding stick in her hands in threatening resentful jealousy. (It's fleeting, c. 16 mins. in, as - perhaps - too, ah, 'symbolic' for the times! Pity!). Mind you (plot spoiler alert = read no further): it's OK, coz she gets her comeuppance eventually, and it's she who slopes off - but: she's "sorry": so that's OK, then.
Soon after even mother of our anti-hero wisely warns now employed by him as 'servant': "Look after yourself, Sirkka; don't believe everything boys whisper in your ear", yet still 'comes' the 'spilling of the cream' jug scene, just afore wicked Aarne intends to so soon spill his own, er, 'cream' (geddit?!), in what these farm / land owning class arrogantly do to the country beauties they inveigle into their employ (latterly, out flows the 'dark' smoke from the phallic chimney of the fateful deflowering countryside hut) and that's despite his very own earlier 'wise' advice to her, anyway, at that first 'spilling of the berries' meeting: "A young pretty girl like you shouldn't have to think: just do what the old and the wise tell you to do." ! Aivan! (=Finnish, for 'precisely'!). So that later, in the key literal 'lamb to slaughter' = downfall allegory scene, Sirkka in, in effect, silent film style but accompanied by menacing Bach's Toccata and Fugue, perilously clambers down the rock face, raging waters below her, so to selflessly rescue a stray, lone - well, of course - lamb. (Ahhh - or should that be, 'Baaa' )
And true, not fair to give away any plot spoilers on this out and out melodramatically drenched, although unusually for director Tulio, not quite doomed romance, of fallen (used and deserted!) naive country gal still comes good eventually, that as presumably through her constant religious supplication: but, indeed, is rendered literally enlightened, in the end, through superb symbolic stuff throughout from director Tulio! (somewhat also written by him, although from adapted play (by Henning Ohlson) / screenplay with Ivar Johansson.)
Whew: those Finnish inter war year's audiences must have been well assured. (Apparently, his films were fondly recalled by those that originally went to see them on the big screen = courtesy interviewer/researcher Anu Koivanen.)
And then, as for the almost incidental plot (side)line involving a return, not quite of the prodigal, but kidnapped (by passing, ah, 'travellers'*) son all on his lonesome (He's only SIX -although does have 'Karo' the dog with him!) in the 'wolf' and danger stranger (er 'gypsy'?!*) land of the then wartime Finnish countryside ... = well, simply, ah, 'happily ever after' preposterous. (Thank goodness for convenient birthmarks, though, huh?) (*how on Earth did they get away with such out and out ethnic racism assumption?!)
So, if you appreciate romantic melodrama, this is an absolute must to see: otherwise, amusing utter tosh!
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