Teuvo Tulio’s adaptation of Johannes Linnankoski’s immortal love drama. Tulio’s oldest surviving film follows a spoilt and arrogant young man, the son of a landowner, playing fast and loose with the affections of a number of young women.
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Come think of it, for centuries vermillion was the main pigment of the sealing wax, providing a purified, one-finger-away deflowering temptation for the use of a lofty literate minority. That made the nuptial ceremony resemble from afar a rite of dispatching, from one keeper to another, of litterae clausae shaped as a woman – granting a right inside an untampered letter that only the recipient could benefit from
A film that begins as Dovzhenko's "Earth" and ends as Dreyer's "Två människor", passing by the absolute belief in the endless cinematic possibilities of an art in changing- from silent to sound, using the full capabilities of both - and that , like Barnet, reinvents language to find its crystal clear and unprecedented fruition, like a birth of cinema, as if its language finally acquired completeness.