Review: Komisario Palmun erehdys

Mikko Kivinen makes no mistake

“Eyes as dark as an autumn night!” echoes handsomely on the Arena stage of the Helsinki City Theatre. The performer is not Leo Jokela, who has stepped from heaven and whose fan club members do not need to be offended, but Risto Kaskilahti, who does not even try to be the incarnation of his predecessor: the rhythm baton of one hand does not swing, the gaze does not stare somewhere dim, but the same marching rhythm fills the theatre just before the intermission. It is good to take a short break from it: as those who know their Waltari know, Kämp has spent time with liquids when a story that has been in a lull for a while takes a significant turn.

The first premiere of the autumn at the Helsinki City Theatre, Inspector Palmu’s Error, is a strict copy of the original work, and that is precisely why it is so meritorious. Even though Kaskilahden Kokki is not a rigid jerk like the character created by Jokela, the rest of the casting, plot twists and the stage design follow the original adaptation admirably faithfully.

One might think that this would be the weakness of the play, but it doesn’t. Raila Leppäkoski’s dramaturgy and Joel Elstelä’s direction seem to give credit to the Palmu films. The plot twists and turns are missing only black and white and cityscapes, which are less present in the original film than in the other Kassila Palm films. The Mistake of Inspector Palmu is first and foremost an interior shoot – and therefore easy to transfer to the stage. Bruno Rygseck’s (Jari Pehkonen) villa in old Eira can even be created in an old cinema on the corner of the Hakaniemi market square.

All in all, the casting of the play is successful. Mikko Kivinen as Inspector Palm, who knows his worth, takes up more space than his body – just like Joel Rinne does. Iikka Forss is in big shoes that he doesn’t let slip into: Virta, Palmu’s assistant from Forss, may not have a character of Matti Ranin’s stature in the play, but the genius who is happy with himself is cleverly embarrassed on stage. Leena Uotila’s Amalia Rygseck chills the viewer’s spine – and in her hand she holds a fatal parasol with a hard bird’s head staring intently at the theatregoer.

Waltari built his Palm series on sweet clichés. However, he did it so skilfully that the reader of the books – or in this case, the spectator of the play – is not disturbed even by the slyly butler. In fact, the author built a cliché into a grotesque cliché: Batler is a depraved Bruno’s Münchausen-syndrome-like invention,  a Finnish waiter prone to petty crime, to whom a young prostitute gives a new name, referring to an English butler. This says more about the employer than the servant.

Eero Saarinen makes an even slicker interpretation of Batler than the movie character. The role model for this butler should be sought from a completely different place, namely from Mr Collins in the legendary Pride and Prejudice series. His phenomenal gruesomeness was created by actor David Bamber in a way that will not be easily forgotten. Saarinen seems to pay tribute to Bamber’s performance – and succeeds in doing so.

The plot of Waltari’s work is pointless to summarize at this point. For those who don’t know it, it would be a shame to tell you the climax. Those who have watched their Palm trees, on the other hand, will probably get their final catharsis when Kivinen lets out his palm-like retracting laughter just before the lights go out – and the circle closes.

Good entertainment does not get old, it does not lose its value even if it is clichéd, its importance does not diminish from copying or the thinness of roles. The mistake of the Helsinki City Theatre’s Inspector Palmu has a whiff of history. It can be  said that it is brave to make an interpretation that resembles its predecessor – and this time it succeeds.