Itinerant pedlar Takala (Eino Kaipainen) arrives at a thriving industrial town, where he befriends the locals, settles down as a shopkeeper, and soon goes into business as a subcontractor to the local factory. His business partner Toikka (Kaarlo Kartio) doesn’t know when to keep his mouth shut, and Takala is ruined by a business rival, forced to sell off his shares in his own company.
Local girl Verna (Ester Toivonen), with whom Takala has had a turbulent flirtation since she was a teenager, flounces off to sob in her room, and Takala leaves for the big city. Both Takala and Verna end up marrying other people, while the outbreak of the Great War leads to changing fortunes. Toikka makes a pile as a war profiteer, while Takala is literally stabbed in the back by striking workers at his paper mill. He is thus conveniently hospitalised for the upheavals of the Finnish revolution and civil war, ready to return triumphant in a tense negotiation over the mill’s future, in which he and Verna, both now conveniently single again, join forces to vote the evil boss off the board.
Released in March 1939 in the short gap between The February Manifesto and The Activists, and hence somewhat eclipsed by two of the biggest films of 1939, Halveksittu is just as much about the transformations of the 20th century as they are. In a subtle, grass-roots way, it charts Takala’s progress from penniless pedlar to wealthy industrialist, in a liminal period that sees Finland itself go from Russian Grand Duchy to independent republic.
Based on Lauri Haarla’s 1930 novel A Man Scorned (Halveksittu mies) the film was criticised in the media for retaining much of the original’s “hollow pathos” – presumably the newspaper Suomen Sosialidemokraatti would have preferred a few more car chases. A review in Uusi Suomi more cannily noted that the film attacked two distinct sub-sections of Finnish society – the Swedish aristocracy, who are defeated by honest Finns, and the Finnish Reds, who are depicted here as thugs duped by demagogues. Writing and directing the adaptation, Jorma Nortimo jettisons much of the novel’s consideration of Takala’s early life, preferring instead to concentrate on the turbulent 1910s. The resultant story valorises the Goldlilocks-level Finnish middle class that remains the national ideal to this day – not too rich and Swedish, not too poor and Red, a just-right White.
The need to cover two or more decades leads to some desperate costuming decisions, not the least Ester Toivonen’s first appearance dressed as a schoolgirl and shopping for a live squirrel, and early scenes in which she inadvisably tries to act as if she has a mental age of about six. In one scene, she leaps enthusiastically onto her father’s lap, and the actor Yrjö Tuominen visibly winces in pain. Later on, her cosmopolitan but loveless marriage is neatly encapsulated in a single scene, in which she flips dolefully through a photo album of all the places she has been, only for a cigar-chomping Gavelius to come in and call her a silly cow.
One is left feeling rather sorry for the spouses who are jettisoned so that the central couple can rekindle their true love. Siviä (Laila Rihte) is Takala’s loyal shop assistant, who worships him from afar – only we see her simpering in wonder as he faffs around in his shop and leaps over his own counter. Gavelius (Joel Rinne) is the monocled dastard to whom the broken-hearted Verna turns for solace, but his sole purpose seems to be to whisk her away for a three-year hiatus, and then leave her a fortune which will allow her to buy her way back into Takala’s heart. Clad in black, and grey at the temples, Takala and Verna stride arm in arm from the conference room as if marching up the aisle to their own, long-delayed wedding. Reader, find someone who looks at you the way that Ester Toivonen looks at Eino Kaipainen when they’ve just joined forces to enact a hostile take-over of their local saw-mill.
Jonathan Clements is the author of An Armchair Traveller’s History of Finland.
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