Quote:
The Finnish national tendency toward alcoholism lurks behind Teuvo Tulio’s association of destruction with drinking—downing the first shot marks the beginning of dissipation in all of his films. Alcohol is inextricably intertwined with sex, corruption of innocence demonstrated by a woman accepting a glass of wine from a man, lost virginity symbolized by a tipped over or broken champagne flute. Regina Linnanheimo’s final collaboration with Tulio addressed alcoholism head on in You Have Gone Into My Blood (1956). Since his career was on its final downturn in the mid-50s, the film was made under the auspices of alcohol prevention education to ensure funding. In a project she scripted herself, Linnanheimo plays Rea, a sheltered plain-jane who is driven to drink after two worldly men seduce her into a romantic triangle.

At one point, deep in the throes of a bender, Rea wakes up with her head on the hairy bare chest of a man, and as she blinks her eyes, the camera slowly pans along her dress, slip and shoes strewn across the floor. She, a married woman, jumps up and hastily dresses while her lover lights a cigarette and smirks. A blunt depiction of a regrettable one night stand, and shockingly candid for the 1950s, it’s old hat for Tulio, who never misses a chance to show what goes on after the lecherous man invites the pretty girl into his bedroom. Following a brief attempt at redemption, Rea transforms from a pampered, lunching lady into a crazed, beer swilling, gutter dwelling bag lady, following the same path of self destruction all her characters are doomed to tread. Ostensibly due to her stylized, outmoded acting, You Have Gone Into My Blood terminated Linnanheimo’s career, but it remains a disturbing portrait of addiction, a female version of The Long Weekend.

You Have Gone Into My Blood.mkv

General
Container:  	Matroska
Runtime: 	1 h 41 min
Size: 	1.41 GiB
Video
Codec: 	x264
Resolution: 	704x572 ~> 762x572
Aspect ratio:  	4:3
Frame rate: 	24.000 fps
Bit rate: 	1 800 kb/s
BPP: 	0.186
Audio
#1:  	Finnish 1.0ch AC-3 @ 192 kb/s

https://nitro.download/view/3A3803A87DEB98B/You_Have_Gone_Into_My_Blood.mkv

Language(s):Finnish
Subtitles:English

The post Teuvo Tulio – Olet mennyt minun vereeni AKA You Have Gone Into My Blood (1956) first appeared on Cinema of the World.

Alexander Pushkin’s adaptation. The daughter of a lighthouse keeper runs away with a shipwrecked businessman to the city. But instead of her dreams, she finds herself selling herself in the streets, until a painter finds her as an ideal model for his next painting.

	
Rakkauden risti AKA The Cross of Love.1946.1080p.WEB-DL.AAC.x264-budumfilho.mkv

General
Container:  	Matroska
Runtime: 	1 h 41 min
Size: 	4.04 GiB
Video
Codec: 	x264
Resolution: 	1480x1080 
Aspect ratio:  	1.370
Frame rate: 	24.000 fps
Bit rate: 	5 442 kb/s
BPP: 	0.142
Audio
#1:  	Finnish 2.0ch AAC LC @ 253 kb/s

https://nitro.download/view/07174AFCB88628F/Rakkauden_risti_AKA_The_Cross_of_Love.1946.1080p.WEB-DL.AAC.x264-budumfilho.mkv
https://nitro.download/view/A5BE28EF79D2211/Rakkauden_risti_(The_Cross_of_Love)_(1946)_–_Teuvo_Tulio_track3_und.srt

Language(s):Finnish
Subtitles:English

The post Teuvo Tulio – Rakkauden risti AKA The Cross of Love (1946) first appeared on Cinema of the World.

Ignatiy Vishnevetsky wrote:
A mix of sexploitation, Lappish folk dress, and soap opera that still finds room for Nazis and reindeer castration – a movie so inept and bizarre that I have to limit any mention of it to this one sentence, lest I get too carried away.

2.19GB | 1h 48min | 988×720 | mkv

https://nitroflare.com/view/40B444B40B24A5F/Sensuela.1973.WEB-DL.720p.x264.KG.mkv

Language:Finnish
Subtitles:English

The post Teuvo Tulio – Sensuela (1973) first appeared on Cinema of the World.

Teuvo Tulio’s remake of his 1946 film, Levoton veri AKA Restless Blood, possibly even wilder and more surrealistic than the original. Enjoy!

https://nitro.download/view/0A59E401939584C/Jealousy.mkv

Language(s):Finnish
Subtitles:English

The post Teuvo Tulio – Mustasukkaisuus AKA Jealousy (1953) first appeared on Cinema of the World.

Synopsis:
Song of the Scarlet Flower was Teuvo Tulio’s first independently produced film, and the earliest of his surviving films. The plot was about Olavi, a farmer’s son who leaves his home after a dispute with his father and leads a life of a womanizing logger.

Review:
Teuvo Tulio is the best director you’ve probably never heard of. Every time I see another his films I’m absolutely stunned by their collective brilliance and the fact that hardly anyone knows they exist. Seeing this one as a double feature with Stiller’s earlier version of the story, I was particularly struck both by what Stiller taught Tulio, and by what Tulio brings to the story that Stiller doesn’t or can’t (and I’m a HUGE Stiller stan so if I’m openly admitting I like this better than his version, you know I’m serious). As in Stiller’s version, the homme fatale drives the plot, but here the pain he inflicts on women isn’t just a frame for his redemptive arc: the women and their subjectivity become the centre of the story, aggressively so by the end of the film. Characters like his mother and his discarded former flames are given space to be real people; they speak while he is silent. This alone would make it a masterpiece, leaving aside the gorgeous photography, brilliant use of music (a Tulio signature), and the eroticism with which the film positively vibrates.

— irmavep (Letterboxd)

https://nitro.download/view/3BB94F2FC4A7114/The_Song_of_the_Scarlet_Flower_(1938)_–_Teuvo_Tulio.mkv

https://rapidgator.net/file/45be31d4f5fe6349888b22ad2d1ed676/The_Song_of_the_Scarlet_Flower_(1938)_–_Teuvo_Tulio.mkv

Language(s):Finnish
Subtitles:English, Finnish, Swedish (muxed)

The post Teuvo Tulio – Laulu tulipunaisesta kukasta AKA Song of the Scarlet Flower (1938) first appeared on Cinema of the World.

Synopsis:
Pathological, triggered by the unbridled desire to take the story of jealousy towards the film noirs, the film shades of black crime, when Riitta decide to carve adulterous sister, imagining in their path. Again, Tulio used effectively ellipse: a meeting room floor of the Chamber of flashing clothes play almost frame by frame Riitta viettelysessiota own – except that it is now a narrow perspective to give a distorted picture of the situation. Similarly, recalling the horrors huteralla hanging: a child fell into the water past his own clumsiness, Riitta now use the tools to ensure that the structure to give up and his rival for its own sister ends up in the rapids.

Review:
Free-spirited Eeva (Linnanheimo, who also scripted) has been playing off against each other her two suitors, Judge Lauri Isokari (Majuri) and Kristian “Kris” (Ingvall), a doctor. In the end she chooses to marry Lauri, much to Kris’s chagrin—although he’s very civilized about it, remains a steadfast friend of both, etc. Over the years, however, Lauri starts to suspect that Eeva and Kris are more than friends—he even briefly worries that he might not be the father of his and Eeva’s son Kari (Petsola). After one blazing row, Eeva storms out to go to her mother’s, declaring she’ll return for Kari in the morning.

The next day Lauri—who’s on assignment as governor of the local prison—is told that a dangerous murderess has escaped from the train that was bringing her to the prison. Soon after, the murderess, Vera Puranen, is found—although amnesic from a head injury—and also the hideously mangled body of Eeva, run over by a train.

It’s soon made clear to us that, of course, it’s Vera who got run over and Eeva who’s the amnesiac, but no one in the movie realizes this and so Eeva is imprisoned in Vera’s place. Her habit of shrieking every time she sees the governor—whom she confusedly recognizes, but not as her husband—earns her a spell of hard labor in the peat bogs . . .

Meanwhile, Lauri, believing himself a widower, has become captivated by the artist Riitta (Karipää), and proposes to her: “What would you say if I asked you to move here and become a mother to two lonely men?” Kari likes her too, although he’s less happy about accepting her as a stepmother. But “Uncle” Kris talks him into the idea, and the new Isokari family settles down happily enough.

Riitta has been observing Prisoner 311 at her husband’s jail, and twists Lauri’s arm to let her paint the woman’s portrait. Prisoner 311 proves, predictably, to be Eeva/Vera. Brought to the Isokari home, she recognizes the lucky elephant that Kris once gave her, and then the family dog, who recognizes her right back, and Kari, who initially doesn’t. But then Kari puts two and two together, manages to engineer his mom’s escape from the prison (in a highly implausible plot, this is the most implausible bit of all), and installs her in the cellar of the family home. When Lauri finds her and discovers who she is, the stage is set for a hair-raising car chase, some miracle surgery by Doctor Kris, and some hamfisted attempts by the four adults to deal with an unusual domestic situation.

The movie sags awfully in the middle—especially when either Linnanheimo or director Tulio seems to have thought that the best way to convey Eeva’s amnesia was to show her not just overacting the bonkers bit but doing so v-e-r-y s-l-o-w-l-y—and it’s also burdened with an oddly jaunty musical soundtrack: it’s hard for us to empathize fully with Eeva’s misery and degradation when the music sometimes directly offset against it seems to be inviting a pub singalong.

Despite these flaws, there’s much here of interest. I’ve seen the movie described as Hitchcockian, but for me it has far more of the feel of an Henri-Georges Clouzot outing. An example of a device that seems reminiscent of both directors comes when the amnesiac Eeva sees her son and then later her husband and can’t understand why their faces are familiar to her: to express this confusion and bewilderment, the camera offers us multiple images of those faces.

And there are some nice set pieces, too. One evening some while after Eeva’s supposed death, Lauri goes rowing on the lake opposite his house. A young woman swimming in the moonlit water grabs hold of a hawser trailing behind his dinghy and allows him to pull her along. As they exchange banter, they juggle the fancy that she’s a mermaid. So far as we viewers are concerned, the doubt remains as to whether the “mermaid” is really there or if she’s just a vision Lauri is having of Eeva—remembering a happier time, perhaps—or even if this is Eeva’s ghost. It’s only some while later, when Lauri, out hunting, finds Riitta sitting at a poolside having sprained her ankle, that it’s spelled out to us who the “mermaid” was.

Overall, then, this is a somewhat uneven piece—no masterpiece—but it’s certainly not a waste of a couple of hours. Tulio produced/directed other melodramas, and the extremely talented Linnanheimo starred in and wrote several of them. I’ll be keeping an eye out for others.

— John Grant (Noirish)

Extras included:

1. Introduction by film researcher Jaana Nikula

(in Finnish with English & Swedish subs)

2. Featurette – About Tulio



(in Finnish with English & Swedish subs)

http://nitroflare.com/view/F76E3D548EB5213/Rikollinen_nainen_%28A_Woman_of_Crime%29_%281952%29_–_Teuvo_Tulio.mkv
https://nitro.download/view/1A5B324056839E4/About_the_Movie.mkv
https://nitro.download/view/A5BCDD284D84F2F/About_Tulio.mkv

Language(s):Finnish
Subtitles:English, Finnish, Swedish (muxed)

The post Teuvo Tulio – Rikollinen nainen AKA A Woman of Crime [+Extras] (1952) first appeared on Cinema of the World.

Quote:
This is based on a short story by neo-romanticist writer Johannes Linnankoski, and is a remake of Tulio’s now-lost debut film Taistelu Heikkilä Talosta (Battle for the House of Heikkilä). I don’t know how faithful this is to the story, which involves an abusive, alcoholic master of a country house and his wife, who struggles for the upkeep of the property against his destructive tendencies. The movie started Tulio’s downfall, with contemporary critics consistently calling it half-baked, and accusing Tulio of repeating himself.

http://nitroflare.com/view/5DAD20A6913359B/Intohimon_Vallassa_%28In_the_Grip_of_Passion%29_%281947%29_–_Teuvo_Tulio.mkv

Language(s):Finnish
Subtitles:English, Finnish, Swedish (muxed)

The post Teuvo Tulio – Intohimon vallassa AKA In the Grip of Passion (1947) first appeared on Cinema of the World.