graniitti

This is a refreshing drama taking on issues "off the beaten track" of the main stream Finnish historical dramas.

It is spring of 1918. The Finnish war of independence is over. The war had turned into a bloody civil war between whites and reds. A young scientist and officer, captain von Munck, is sent to close the border between the newly independent Finland and Russia under Bolshevik revolution. St. Petersbourg is close, only 40 km away and foreign, Russian and Finnish refugees, spies and revolutionaries try to cross the border to Finland.

The young man must set up a clear border between Finland and Russia, white and red, enemy and friend, us and them. While the task seems clear he finds out the execution of his command in concrete situations is very difficult. Right choices turn out to be wrong ones and correcting them make things worse.

This historical war movie is the border that most other war movies take for granted. There is a border, there is us and them. This is clear - also in this movie - but where is the border, where is the "thin red line" right here and now? In the story the border, us and them ,is moving from situation to another, from place to another.

The movie has some technical flaw but the script and editing work well. As a description of the situation after 1918 civil war this is a rare filmatisation. I would recommend movie makers to look slightly of the beaten track when choosing historical war and drama topics.

Kingdom of Heaven is a very good movie. I have now seen it twice. The first time I saw it I was afraid to expect anything but yet I had great hopes. I was not disappointed, but often felt how something was lacking. After the second viewing I am pretty sure an extended DVD version might fill the gaps. Especially slowly developing scenes that establish the emotional motivation and development of the main character, Balian of Ibelin, seen to be cut to minimum. But I hope the missing scenes are in the DVD. It is too early to say weather Orlando Bloom was good or great, but certainly he was not miscast. And we certainly need more screen time with Jouko Ahola.

Ridley Scott has said that ever since he saw the masterful epic "El Cid" when he was a teenager, he has desired to make a film about knights. I presume he has been a great fan of the epics since his Gladiator is a remake of another 60's epic "Fall of Roman Empire" and in Gladiator he has made a better movie. He knew he could deliver a better version by adding what the original was lacking: a charismatic leading man and emotional tension.

Yet with El Cid he must have had a whole different deal. There is no way one can make a better El Cid. It is the perfect epic: it had a perfect cast, a masterful score, compelling setting, sweeping shots and a script that is better than the legend. El Cid of the movie is the perfect knight who has no second thoughts about truth, right and wrong. It is the princes, kings, his wife, friends and enemies around Cid who show weakness, repents and grow, or fall. And with Charlton Heston you believe this larger than life knight is real, flesh and blood. I believe Ridley Scott chose to have a different kind of knight. A knight who is not larger than life and who chooses to live a humble life in obscurity rather than ride in to legend like his idol, El Cid.

Here we have another interesting connection: When El Cid conquered the moorish city of Valencia in 1095 which inspired the pope Urban to call for crusade to free Jerusalem which happened 1097. Legendary El Cid was the ideal for a crusading knights like Balian. Balian finds that a true knight follows his conscience and not any ideal. Legendary epic film El Cid is the ideal of the crusading directors like Ridley Scott and he has managed an insightful remake of it's themes.

KOH uses characters and biblical phrases to create a network of symbolism: "I am what I am." With blood in his hands Reynold de Chatillion recites the God of The Old Testament as he delivers punishment to the sinners. This man has no conscience – his existence is a mockery of the Almighty. "I am Jerusalem!" says the Leper king as he demands humility from Reynold de Chatillon. The character is carrying the sins of the whole crusading army to save them. The scenes with him all have certain sacrificial grandeur. Edward Norton uses his voice very well. The phrase is later repeated by Guy de Lusignan before making everyone suffer for his sins. First you think Csokas is miscast, but perhaps the character is intended to appear as a complete mockery of any honour and sacrifice.

The muslims in the movie are nicely portrayed. Perhaps too nicely since in the end there is a lack of fear in the audience. Why are they fighting in Jerusalem if the muslims are such just and merciful people as Saladin and his deputy are portrayed? Certainly they could all go freely if they just asked. I believe scenes were cut that establish what a menacing threat to crusaders lives some muslims posed. Unfortunately these scenes are necessary to explaine the final battle. There are two meaningful debates between the muslims, Saladin and his deputies. First one claims that only Allah decides the outcomes of battles and Saladin has no right to make a truce. Saladin easily turns the argument around. The exchange of words is a classic debate. The other deputy argues that he followed Saladin's own example which Saladin can not argue against. Saladin shows that God's presumed will is not something you can base your decisions on or defend them later. Ghassan Massoud gives an excellent performance as Saladin. This man is a king, a man of calculation and discipline. Even as he privately shows empathy, he can not afford idealism and give mercy unless it is politically wise. A good man tied to the realities of world full of fools.

I have for years loved this film. While Akira Kurosawa is a great director and he deserves all the credit he is given, I feel a true genius behind Seven Samurai is almost forgotten.

He can be found on the credits: composer Fukio Hayasaka

His score for Seven Samurai is one of the best I have ever heard. Unfortunately he died 1955 just a year after the release of this world wide success film. What a famous career he could have made after this success!

Audience relates to the villagers, the samurai and the plot through the simple themes and melodies created by Hayasaka. The main theme splendidly captivates the melancholic stoic heroism of the samurai. The secret love scenes between the apprentice nad the village girl create an enchanting atmosphere.

Hayasama should be ranked right up there with Miklos Rosza, John Williams, Ennio Morricone and Maurice Jarre.