Tom of Finland

(Finland / Sweden / Denmark / Germany / USA 2017)

Touko Valio Laaksonen, a.k.a. Tom of Finland, was extraordinary and unconventional. Dome Karukoski’s rather vanilla biopic Tom of Finland is neither.

With Aleksi Bardy’s screenplay, Karukoski lays out a good historical background of the life of the artist, whom Pekka Strang plays convincingly enough, at least until Tom’s later years. The story takes us through WWII, where Tom serves as a closeted solder in the Finnish army and catches the eye of his sargeant (Taisto Oksanen), into his postwar life in conservative Helsinki, where he works as an advertising illustrator, cruises public parks at night (and evades arrest), and sketches “dirty” homoerotic fetish doodles in his spare time. He shares an apartment with his homophobic sister (Jessica Grabowsky), which provides much of the dramatic tension in this story, especially when a cute boarder, dancer Veli (Lauri Tilkanen), moves in. Ultimately, the story leads to 1980s Los Angeles.

For a subject who really pushed the envelope — okay, he rammed it somewhere else altogether — and left his mark, Tom of Finland is a disappointingly conventional, even sappy biopic. The focus is on Tom’s personal struggle to live his life ‘out,’ which is a fine angle. Aside from a scene involving a Russian paratrooper (Siim Maaten) that apparently had a profund effect on Tom, however, Karukoski doesn’t delve deep enough to offer much insight; he seems to want to give an intimate picture but somehow stays at arm’s length from his subject. Too bad. His references are good but his approach is more documentarian or downright clinical. He skips huge chunks of time, which makes for awkward transitions in the film’s latter half. More frustratingly, he starts to raise some interesting points about art, conformity, AIDS, community, and longevity, but opts not to go there. Tom of Finland could have been a much more interesting film.

With Martin Bahne, Þorsteinn Bachmann, Werner Daehn, Jan Böhme, Seumas F. Sargent, Jakob Oftebro, Meri Nenonen, Haymon Maria Buttinger, Martin Bergmann, Niklas Hogner

Production: Helsinki-filmi, Anagram Väst, Fridthjof Film, Neutrinos Pictures, Film Väst, Fresco Film Services

Distribution: Finnkino (Finland), Protagonist Pictures, Cinemien (Netherlands), Kino MFA+ Filmdistribution (Germany), Lorber (USA), Palace Films (Australia), Peccadillo Pictures (UK), Rézo Films (2017) (France) (theatrical)

115 minutes
Not rated

(Gene Siskel Film Center) C+

http://www.tof.fi

http://www.protagonistpictures.com/films/tom-of-finland#.Wl0isyOZPgE

Restless Blood [Levoton veri]

(Finland 1946)

The third Nitrate Picture Show ended on a high note with an unidentified film (the “blind date”) that turned out to be Finnish director Teuvo Tulio’s gloriously insane melodrama Restless Blood [Levoton veri]. I never heard of the director, the film, or anyone in it. I adore this silly spectacle, which straddles the line between soap opera and Saturday morning cartoon.

The story is a love triangle involving two sisters, elder Sylvi (Regina Linnanheimo) and younger Outi (Toini Vartiainen), and Valter Sora (Eino Katajavuori), a burly doctor in their small town. Outi is his patient—she broke her leg—but Sylvi snags him as a husband. Not that Outi has no chance—she does, which she proves when she returns after disappearing, heartbroken, for a few years. Oh yeah—Sylvi goes blind in the meantime: she drinks poison.

Written by Tulio, Linnanheimo, and Nisse Hirn, the script is prime time dynamite. And fresh even by today’s standards. Forget the Ewings and the Carringtons—loaded with sibling rivalry and drama, Restless Blood is the raw and bitter real deal.

Here’s Sylvi driving like a maniac, “blinded” by rage:

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Come on! That coat, those glasses, that pissed off vengeful smoke! It’s perfect. When we see that Sylvi gets what’s going on between her husband and her sister, wow. Just…wow. The story is thin, but the actors put a lot into it. Bonus: Pentti Lintonen’s cinematography is brilliant. Seeing it on a nitrate print was the icing on the cake—totally worth the cinematic fat and calories.

Restless Blood is not the best film screened at this year’s Nitrate Picture Show, but I dare say it’s the most interesting. I’m dying to see more by Tulio—too bad his work is not easily (or cheaply) accessible.

With H. Stenroos, Lauri Korpela, Laina Laine, Nora Mäkinen, Lida Salin, Emma Väänänen, Elli Ylimaa

Production: Teuvo Tulio

Distribution: Väinän Filmi

91 minutes
Not rated

(Dryden Theatre) B

Nitrate Picture Show