The title of this comedy from Suomi-Filmi is a pun – “For the Marks”, i.e. something along the lines of “One for the Money”, but also “For (Mr) Markka”, the stuffy old bachelor (Uuno Lakso) whose mansion is just about to be invaded by a cast of rude mechanicals. Released in October 1938, and clearly filmed at the height of the Finnish summer, it makes much of the sunshine and sporting opportunities of the Finnish riviera – the opening sequence bathes in the heady life of the Hanko peninsula, all beach balls, water slides, and games of leapfrog. In strangely timeless encounters that would not look out of place 80 years later, the menfolk conspire over how to chat up girls, not that the impossibly handsome Kullervo Kalske, last seen here in The Jaeger’s Bride (1938) needs to do anything more than snap his fingers. While there are several male leads, however, the film belongs almost entirely to the two ladies who variously pursue them or are pursued by them.
Gym teacher Ritva (Irma Seikkula) is looking for her sister Irmeli (Birgit Kronström) in Hanko, because she needs her for a fashion show… no, I don’t know why, either. But Ritva can’t find anywhere to stay, until she is offered a crash-space by Tilda (Aino Lohikoski), the maid at a rich man’s house. In an echo of the confusions of All Kinds of Guests (1936), she is ordered not to let anyone but the owner in, only to find the house besieged by a bunch of unexpected visitors, including the two lounge lizards that her sister Irmeli has met out on the town. If the plot device of random visitors descending on a house seems tired already, I would argue that it is emblematic of the limitations not of Finnish film, but of the Finnish theatre repertoire from which so many Finnish films then derived.
Although Markan Tähden was based on a play script, Hilja Valtonen’s Day of the Heiress (Päivä perijättärenä, 1932), it seems that the play version was never staged. Instead, it forms the latter acts of a movie that begins with vivacious outdoor location scenes, luxuriating in the opportunities presented for comedy business and Finns in swimsuits. It is, in fact, something of a let-down when the film grudgingly gets around to its actual story, tramping off to the real-world location of a Kulosaari mansion (supposedly just off the beach, but actually a hundred miles away in Helsinki, in what is now the embassy district), in order for a bunch of would-be couples to get bogged down in a series of misunderstandings, accidents with soda canisters, mistaken identities and pratfalls.
Comedy, such as it is, is expected to derive from wide-boys trying to scam a posh restaurant, and social climbers attempting to marry into money. Irmeli inveigles a stranger into pretending to be her Dad in order to throw off an unwelcome suitor, only to find that she has inadvertently charmed a man with loads of money. Seikkula, most memorable for her turn as the titular Juurakon Hulda (1937), wanders through each scene in a slight daze, as if the whole thing is beneath her, while Kronström, a multi-talented Swedish-Finn blessed with comic timing and musical skills, shines here in what would become the first of several flapper roles that would make her a wartime star. She certainly lights up every scene she’s in, and that’s before she sits down at the piano and starts belting out songs live.
The Finnish press criticised the film for some “somewhat unnecessary scenes”, although one wonders what that was supposed to mean. Frankly, the entire plot is unnecessary, and regardless of the critical reception at the time, the film’s value in 2020 comes from the wonderful glimpses it offers of Finland in the summer of 1938, before giving way to another dreary farce. As the two wayward sisters, Kronström and Seikkula are also hypnotically watchable when in individual scenes (including Seikkula in a bare-backed bubble-bath moment that was surely testing the bounds of 1930s respectability), but clunkily lacking in rapport when they are together. As the Finnish papers noted at the time, it created an odd situation whereby they were only believable as siblings went they weren’t in the same room.
Jonathan Clements is the author of An Armchair Traveller’s History of Finland.
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