Ghost Nation

My agent recently asked me a question on behalf of another author, whose book had been refused from a printworks in China. The author had been discussing the natural habitat of certain flora, and made the mistake of saying in, rather than on Taiwan. It was left to me to explain the concerns of the Chinese printer – it was unlikely that there was some kind of censor shouting at him down the phone, but Beijing had just made “support of Taiwanese sovereignty” a crime that carried a maximum penalty of death. Printing the word “in” rather than “on” would imply that Taiwan was not merely an island, but a country and it was more than the printer’s job was worth.

Chris Horton’s book, Ghost Nation: The Story of Taiwan and its Struggle for Survival, is printed and bound in Croydon, nowhere near any fretful Chinese printers. It charts the shifting sense of who owns Taiwan and who speaks for it across the centuries, and offers many examples of roads not taken or paths less travelled. Horton notes, for example, that whereas the Dutch ruled Taiwan for 38 years, the Ming-loyalist Zheng family only held it for 22. However, in that brief time, the Zhengs introduced many indelible elements of the island’s “Chinese” identity, including the very plum trees that provide the blossom that serves as the national flower emblem of the Republic of China. Then again, he also notes that when imperial China signed the Treaty of Shimonoseki in 1895, it ceded Taiwan to Japan in perpetuity.

Horton devotes two chapters to the delicate dance of “One China” from the moment in Cairo when the Allies agreed that the Republic of China could have Taiwan back from Japan, through Beijing’s claim that as the inheritor of the Republic’s ruler and power, Taiwan should hence default to the People’s Republic, and if it did not do so, it was a rebel province. The story is liable to be well-known to anyone reading this blog, but Horton’s approach deals with it through the lens of fluctuating American political will, with time out for some entertaining rants about the editorial policy of some of his bosses. The issue of whether or not Taiwan can be called a “country”, remains a hot political potato, and Horton seethes about the way that the world is locked in step to the American position, and has to constantly come up with “awkward workarounds.”

While it is fashionable these days to blame the Americans for absolutely everything, I feel the need to point out (as does Horton), that the 1972 Shanghai Communiqué deliberately used language that neither Beijing nor Taipei could dispute – that both governments agreed that Taiwan was part of China. They just didn’t agree who was in charge of China itself. It took a regime change in Taipei itself, with the Democratic Progressive Party challenging the rhetoric of the mainlanders who had been in charge for 30 years, for the language to begin to creak.

Horton eschews much of the traditional book-cracking in libraries for a research methodology that rarely strays far from a computer with an internet connection. This does him little harm with a focus that does cover the early history of Taiwan, but rushes through it in favour of the later twentieth century. As one might expect, he is particularly good on the various media splashes and spats that he has witnessed personally, and there is some lovely coverage of the semantics of junketry, such as the time in 2020 that representatives of the People’s Republic gate-crashed a Taiwanese event in Fiji, complaining about the presence of the ROC flag on a cake, or the domestic impact of Tsai Ing-wen’s public apology for the treatment of indigenous people, to which she invited not only representatives of the surviving tribes, but those of the “Pingpu” peoples whose cultures had been so thoroughly assimilated that they still struggle for official recognition.

Horton zooms in on the ethnically meaningful menu served at William Lai’s inaugural banquet, which makes for fruitful comparison with the similarly politicised food served at Chen Shui-bian’s twenty years earlier. He also has an eye for all sorts of interesting details, such as the fact that Chiang Kai-shek fled mainland China on a private plane donated to him by the United States, and named after his wife. Occasionally, the rhythm of the text slows to single human-interest moments, forming memorable illustrations of broader historical points, such as an old lady’s quest to discover the fate of her grandfather in the Cold War purges, or the fact that KMT political officers are still a common presence on campuses, even though their activities today rarely extent beyond stopping kids smoking outside the gates.

Horton buys an iced tea at a convenience store, and observes in 2025 that the date shown on his receipt is year 114 of the Republic, because the Taiwanese authorities’ desire to manipulate reality extends to the marking of time. He strokes his chin at statues in Chiang Kai-shek’s memorial park, and observes that the late dictator is often posed in bronze in conversation with the Republic’s founder Sun Yat-sen, as if the pair of them were far more chummy than they really were.

He dwells on the initiation of the “White Terror” in 1947, which he terms the Kuomintang’s “original sin”, and describes in Taiwanese terms as yidu, a “residual poison.” He proclaims that Peter Huang’s assassination attempt on Chiang Ching-kuo in New York in 1970 was literally the “first shot” of the decade’s anti-KMT protest movement, and devotes ample space to its grand moments, such as the war on Formosa magazine, the Kaohsiung Incident, and the assassination of the journalist Henry Liu by a Triad hit squad in California. These events are all well-known today, but were not even whispered during my own student days in Taiwan in 1991.

Like others, Horton foregrounds the importance of the TSMC, the company that makes so many of the world’s computer chips, but relates this solidly to the modern world’s obsession with Artificial Intelligence, for which TSMC also produces the latest chips for Nvidia.

This is very much a book of the moment, concentrating on the immediate fall-out from the re-election of Donald Trump at the end of 2024, and its likely impact on the money that the US sends to China. Horton has facts and figures on hand about the immense amount of money spent by the previous Trump administration on shoring up Taiwan (three times the amount spent by Biden), and also on the collateral politics, such as the degree to which Vladimir Putin needs Xi Jinping’s help in Ukraine, and how that affects Russia’s stance on Taiwanese sovereignty.

Jonathan Clements is the author of Rebel Island: The Incredible History of Taiwan.

Yes, and Right Away (1943)

Lieutenant Romppiainen and his ever-present sidekick, Sergeant Ryhmy, are tasked with blowing up a Russian ammo dump, but are captured when a shell hits their dugout. Thrown into jail, where they run rings around their captors, they team up with their cellmates (a former prisoner and former jailer) to break out. As they sneak out of trouble, they accidentally rescue Peikko (Kullervo Kalske) and Eila Kaija Rahola), two Finns being interrogated by Natalia Vengrovska (Kirsti Hurme), the tough but vampy Russian commissar.

They run into members of the Kuusinen Finnish People’s Army, a division of ethnic Finns that in the real world, performed a lot of the occupation duties in captured Karelia. Stealing their uniforms and posing as Red sympathisers, they blag their way out, and set the charges for the ammo dump. Ryhmy, his pointless cat, and the ever-smouldering Vengrovska are trapped inside, but make it out seconds ahead of the explosion. Abandoning the unconscious Vengrovska in the forest, Ryhmy makes it back to Finnish headquarters, where they receive little thanks for their heroism, and are instead put to work making an inventory of everything they have lost.

“Even farce has its limits,” commented Salama Simonen in Uusi Suomi. This second movie adaptation of Armas J. Pullas’ novel series after Ryhmy and Romppainen (1941) was intended as a comic diversion, but crashed straight into a recurring issue with wartime movies – whether to make light of the enemy or take them seriously. Finnish authorities were not amused by the depiction of Russians as merry fools, and Finnish officers as bumptious moustaches. Seven decades later, the most shocking thing is the sight of Finnish collaborators working for the Russians – a realistic reflection of history, but not the sort of alternative image one expects from propaganda. Despite this, Jees ja juust was regarded as so problematic, and so riddled with slurs against the Russians, that it was pulled from cinemas in the summer of 1944 and not seen again until its video release in 1988. Compare such redactions to the similar fate of That’s How it is, Boys (1942), another wartime hit that was quietly cancelled in a changing political climate.

The film’s characters form a familiar line-up in forties film. The leads are rude mechanicals, salts-of-the-earth, who in peacetime were a vacuum-cleaner salesman and a bus driver – a skillset that is presumably intended to make them readily identifiable to audiences. The drippy romantic B-plot between Peikko and Eila is tacked on to fill some sort of snogging quota. But the stand-out star is Kirsti Hurme, who obligingly plays Commissar Vengrovska not as a snarling enemy, but as a frustrated vamp in need of a good cuddle, all torture and interrogation scenes presented more as some sort of dress-up bondage game. This, presumably, is why she became such a hit with army audiences, the most-requested star for public appearances on military bases.

Ryhmy and Romppainen would return in one further film, “Give Us the Olympics,” said Ryhmy (1952), in which trouble would still find them in peacetime.

Jonathan Clements is the author of A Short History of Finland. He is watching all the Finnish films so you don’t have to.

Message From Space

Despite lacklustre reviews from the American press, Message from Space endured far beyond what might have been expected, buried in the children’s slots at American theatres, paired on a double bill with Luigi Cozzi’s Star Crash (1978). Message from Space might have sunk below the radar of mainstream film, fading into the background noise of Saturday morning screenings for the next decade, but that gave it an oddly broad footprint with an audience of 1970s and 1980s children.

To put such American numbers in context, the smash-hit Pokémon – the First Movie (1999), was shown on a mere 3,041 screens, although that was a first-run record in the United States. The cross-over hit Shall We Dance? (1997) barely managed 268 screens. Kurosawa’s acclaimed samurai epic Ran (1985) was shown on a mere 30 screens. Unloved and largely unappreciated, Message from Space ultimately ran in over 17,000 theatres, where adults left their kids for a couple of hours’ respite, unaware that they were watching a fantastic swordfight finale between Shinichi Chiba and Mikio Narita, or the height of Tōei’s SFX work onscreen.

From my sleeve notes to Message from Space (1978), released by Umbrella in Australia as part of their Out There by Toei collectors’ box.

AnimEigo Interview

Justin Sevakis’ oral history of the anime industry gets around to interviewing me about the development of anime in the UK, the philosophy of memorabilia, “a bunch of women called Glenda,” the agonies of Dark Myth and the concept of Silver Otaku.

There’s also a bonus for AnimEigo subscribers, with further footage in which I discuss the logistics of festival guests and interviews, gossip about Leiji Matsumoto, Naoko Yamada, Mamoru Hosoda and others, the creation of Smith Toren and foreigners in the anime business.

Further details of the anime business from the inside, of course, can be found in my book Anime: A History.

Wingman: All-In (2024)

After fourteen years in a sinecure job at his father-in-law Johan’s company, Tommi (Antti Luusuaniemi) needs a raise in order to afford his dream house. His neighbour Juhis (Kari Ketonen) suggests that he gets involved in the boss’s birthday parachute jump – a family affair since Tommi’s pilot wife Harriet (Maria Ylipää) is flying the plane. But this is not the first time that Juhis, Harriet’s former Gulf War comrade, has dragged Tommi into trouble, and when faced with the half-mile drop to the land below, Tommi loses control of his bladder.

Harriet lands the plane on a pretext, and the men arrive at the party being thrown for Johan (Taneli Mäkelä). Tommi tries to give a resounding speech about how Johan has inspired him to be bold, unaware that the entire company of guests, including the fuming Johan, has just seen video footage of him pissing himself on a plane.

Without any hope of a promotion, Tommi resorts to cryptocurrency investment in order to scrape up the money, betting his house on a swift return. As he goes “all-in” on a life-changing risk, his business rival Patrick (Olavi Virta‘s Lauri Tilkanen, having a ball playing the bad guy again) sets up a series of situations that Johan can use to convince Harriet that Tommi is cheating on her.

The crypto company turns out to be a scam, and Tommi loses everything, including Harriet, who takes their daughter off to her father’s summer cottage, where Patrick commences a louche attempt to woo her. Discovering that the crypto company is run by Johan’s wayward brother Göran (Lasse Karkjärvi), Juhis and Tommi blag their way into prison posing as his lawyers, and persuade him to retrieve the money and hand it to Tommi, purely to spite Johan.

Juhis proves to Harriet that Tommi was set up, Tommi gets his money back, and all is well again, in this feature follow-up to the comedy series Luottomies (2016-21). The original series was an absolute joy – comprising 10-minute online shorts in which Juhis inevitably led the ineffectual Tommi into compromising situations reminiscent of Victor Meldrew’s misfortunes in One Foot in the Grave. This movie outing often feels lost in a longer format, and lacks the swift set-ups and slapstick pay-offs of the series that birthed it. Crucially, it leaves Juhis out of the action for long stretches – presumably because the actor who plays him is also the director, and has more to do on a film production. In the original, it was always Juhis whose well-intentioned schemes landed Tommi in deep water. Here, Tommi falls for the for the crypto scam all by himself, while Juhis dolefully observes that he only comes to him for help after secretly plotting to move away from the neighbourhood.

Finnish critics largely agreed, variously noting either that they missed the ten-minute set-up/joke of the originals, or that there was little point in a movie that didn’t go big. But for his feature, writer-director Kari Ketonen instead homes in on a different form of comedy tension, often invisible to outsiders: the cultural stand-off between Finns and Swedes. Tommi is repeatedly emasculated by the attitudes and expectations of his Renwall in-laws, who have all the money, sophistication and business smarts. He has even taken his wife’s surname, as Tommi Mäkinen-Renwall – in one of the film’s best gags, his angry father-in-law tells him to hand back the Renwall in the divorce settlement, “but you can keep the hyphen as a reminder.”

Despite the carping from the press, the movie also keeps to the spirit of the original in the sense that Juhis really is Tommi’s misguided guardian angel (luottomies, or literally “trust-man”). Although Juhis repeatedly creates difficulties for Tommi, he is also unfailingly there when he really needs him, and ultimately manages to save the day, in a successful reset-to-zero that allows the cast to all be in place ready for the next movie follow-up, Wingman: Sabbatical (2026), which takes the cast off to Spain. What could possibly go wrong?

Jonathan Clements is the author of A Short History of Finland. He is watching all the Finnish films so you don’t have to. Wingman: All-In is streaming with English subtitles on YLE Areena.

Vikings of Us All

“In the Viking Age and the centuries that preceded it, northern Europe’s unpredictable climate periodically forced barbarian tribes to go in search of new resources. In our supposedly enlightened age, the search for such resources has been sublimated, corporatised, sanitised perhaps, but it has not receded.

“You did not, I hope, steal this book from someone else. The clothes on your back were not snatched from Irish monks, and you did not appropriate your money by smashing up priceless holy relics, but there is still a perilously thin line that separates you from the hungry and the cold, and from the need to secure food and warmth. Few of us are more than a few months away from bankruptcy. We hand over new forms of manngjöld, hoping to shield ourselves against misfortune by paying tax and insurance. Our faith in our governments and welfare systems keeps us from having to consider what we would do if they were not there.

“While the Vikings are inhabitants of the past, the forces that created them are not. Ours is still a world with famines, floods and incidents of over-population. Our battles over resources are fought by proxy in distant lands, but they are still fought. You do not lead a band of men to take from those less able to protect themselves, but somewhere far away, others do on your behalf. It takes only the tiniest turn of fate, the slightest lapse of law, to make Vikings of us all.”

From A Brief History of the Vikings by Jonathan Clements.

Playdate

A story pitch familiar from many a twentieth-century potboiler, including The Universal
Soldier
and Akira, takes on a new, family-oriented tone in a 2020s media
landscape dominated by streamers providing movies direct to home cinemas.

Over at the Encyclopedia of Science Fiction, my write-up of the comedy action movie Playdate. Discussing its science fictionality requires a discussion of the ending, so there are spoilers galore.

Infernal Affairs

Reporting on Triad activities in the 1990s took on a new cross-border tone, as new arrivals from the People’s Republic refused to play by the carefully negotiated “rules” of Hong Kong’s local criminals. Even as the movie business struggled with the implications of complying in advance with likely post-1997 censorship restrictions, the criminal world, too, faced the possibility of an invasion by a different kind of gangster.

Hong Kong was stuck in the middle, its 1997 change in sovereignty described as a grudging “Handover” by the British media, as if London was being mugged for its lunch money, and an exuberant “Return” in China, as a long-lost sibling returned to the Beijing family. But by this time, Hong Kong had spent 150 years under British rule. Could there ever be any going back? Could it just revert to being “fully” Chinese, whatever that meant, as if it had simply been undercover on enemy turf for a long, long time? As Chan (Tony Leung) comments: “Everything will be okay after tomorrow,” but the idea comes loaded with misplaced optimism, and is repeated on several occasions in the series.


Excerpted from my sleeve notes to the new 4K Blu-ray release of Infernal Affairs by Umbrella Entertainment (Australia), which goes deep into the shadow line of different kinds of gangster operating in 1990s Hong Kong. I’m so pleased that Umbrella continues to recognise the value of meaningful extras, while so many other video labels are succumbing to the false economies of bare-bones releases.

Catherine and the Count of Munkkiniemi (1943)

Count Mauritz Armborg (Leif Wager) is packed off to Rome to study the violin, in a devious gambit by his family to keep him away from his true love, the butler’s daughter Katariina (Regina Linnanheimo). He stops just long enough to impregnate Katariina in a roadside inn, and Katariina throws herself off a cliff in grief, only to be rescued by her suitor, the honest fisherman Elias (Eino Kaipainen, formerly a leading man good enough for any red-blooded Finnish woman, now reduced to the supporting cast).

Seven years later, Elias handily dies from the plague (or something), freeing Katariina to dump her son Mauritz Junior (Marjo Kuusla) on a grieving mother, who whisks the boy off to Rome, where he is reunited with his father, who recognises the necklace he gave Katariina. He brings his long-lost son back to the manor in Finland, where his mother (Elsa Rantalainen) confesses to her machinations, all is forgiven, and the lovers are reunited.

Katariina ja Munkkinienen kreivi had a convoluted path to the screen, beginning as a last-ditch effort to salvage the costs sunk into an abortive historical drama about Karin Månsdotter (1550-1612), the queen consort of Sweden’s mad king Erik XIV. With the royal movie project shut down for reasons unclear, the Suomen Filmiteollisuus company was saddled with an entire warehouse full of costumes, and thrashed around in search of a story that would justify them. Eventually, a ready excuse was found in the form of a romantic novel, serialised in the Oulu local paper Sirpale from 1939-1940, by the same Kaarina Kaarna who had penned the earlier success Beautiful Regina of Kaivopuisto (1941). Nisse Hirn’s script adaptation was deftly polished by Toivo Särkkä with some smart changes for the change in medium – a dinner scene was transformed into a glittering dance, and Mauritz’s desire to be a painter, switched for the more soundtrack-friendly violinist.

And then the whole thing sat in limbo for a year, upended by the Winter War, losing its original director and stars, and finally flung together under Ossi Elstelä, with new face Leif Wager in the male lead. It was Elstelä who called the lyricist Reino Hirviseppä in Viipuri and asked for a “quick fix” – the result, dashed off in the following fifteen minutes, would become the film’s break-out song “Romanssi,” one of the most popular hits of Finland’s war years.

Buildings in Helsinki were found to stand in for the supposed globe-trotting scenery in Italy and Denmark, and the result was the box office smash of 1943, although the critics were less impressed. Hans Kutter in the Swedish-language Hufvudstadbladet ridiculed the novelist’s staple elements of “a man of high birth, a woman of the people, and the obligatory illegitimate child.” Olavi Vesterdahl in Aamulehti was similarly snide, calling it a “worthless pastime” fit only for “soppy schoolgirls and dreamy women.” Paula Talaskivi, the unshakeable oracle of Helsingin Sanomat, lamented the fact that anyone ever bothered to make such drivel any more. Toini Aaltonen, in the Suomen Sosiaalidemokraati was oddly aggressive, in what seemed to be a town-and-country stand-off, lampooning the “naïve” readers of Sirpale for falling for it all, and blaming them for the fact the film got made at all.

The press was more forgiving of leading man Wager, cooing enthusiastically about his chiseled good looks and gentlemanly manners. Talaskivi chided the film-makers for putting the 28-year-old Regina Linnanheimo in the role of a virginal teenager, and smartly suggested that the film might have made more sense if she’d swapped places with Sirka Sipilä, the 23-year-old actress who played Ingeborg, the spinster with whom Mauritz is forced into a loveless marriage. With the Finnish film industry now twenty-some years old, aging stars were becoming a thing – as noted up-blog in The Toilers of Rantasuo (1942), former male lead Eino Kaipainen was now in his forties and here, it seems, finally accepting the move into character roles with a degree of grace, albeit with a distractingly wispy beard.

Also popping in for long-term readers, the radiant Elsa Toivonen as a countess who encourages Katariina to marry for love: “I was sixteen when I was wed; seventeen when I had my first child, and my husband was twenty years older than me.” Elsa Rantalainen as Mauritz’s mother, trying to corner all the Scheming Old Bag roles, is, as ever, oddly persuasive in her arguments for Mauritz to Do the Right Thing.

Shunted onto television in a different era, the film was battered for the unintentional humour provided by all the histrionics. This viewer was left more curious about the implications that the costumes intended for a Karin Månsdotter drama set in the late 16th century should somehow be appropriate for a Finnish movie set in the 1860s. Maybe fashions don’t change so fast in the far north? The film’s finale is set in the year 1867, which is also the year that Månsdotter’s sarcophagus was renewed in Turku cathedral, so possiby the Månsdotter film had an 1860s framing device that would account for a bunch of the costumes.

Jonathan Clements is the author of A Short History of Finland. He is watching all the Finnish films so you don’t have to.