Review: Komisario Palmun erehdys

Inspector Palmu’s mistake on the stage of the theatre is such an incident that a Waltari and detective fan like me can NOT miss it. So I tried my luck and got press tickets for two for Wednesday night’s (31.8.) screening! After the working day, my friend and I headed towards Helsinki and the Arena stage, where the Helsinki City Theatre is evacuated during the renovation of the theatre building.

I have to admit that I sat down in my chair in the middle of a full auditorium with a bit of fear. Would it be a memorable evening or a disappointing pancake? Or something in between? Helsingin Sanomat’s assessment from last week suggested that it was mostly something in between.

The film adaptation of Mika Waltari’s detective novel has probably illustrated the memorable versions of the characters and milieu of Inspector Palmu’s mistake. For me, the film is even more familiar than usual, and I claim to know the plot almost by heart. The best scenes are downright legendary, such as Leo Jokela’s Silimät tummat Kämpissa and Mrs. Alli Rygseck’s Death, and I was particularly excited about their play versions.

A day later, I can happily say that a fan of the film version of Inspector Palmu’s Mistake like me can only sigh with satisfaction: the Helsinki City Theatre’s play version does a great tribute to the film, but does not follow its role model too strictly. The viewer has been given a nice space to make comparisons in their minds and experience the joy of discovery. If for some reason you still haven’t seen the movie, you can watch it after the play.

The Arena stage is admittedly small, but it has been used efficiently. In the foreground, the police department’s office is erected, sometimes the Kämp cabinet or Bruno Rygseck’s bathroom. One of the doors placed on the sides is a removable model with its frame, and it is used to illustrate several times how Bruno’s bathroom was entered and went. The famous and crucial electric button is also in place by the door.

Behind the movable and, if necessary, translucent screens, the hall of Bruno Rygseck’s city mansion is revealed. Bruno’s desk with lockable drawers is pushed onto the back wall, and a piano in the corner. In the foreground, there is a wide sofa under the staircase, and the serving trolley is within reach under the side façade. With this equipment, you can create  enough different interiors for scenes where you solve who murdered Bruno, the black sheep of the Rygseck family.

Joel Rinne will probably forever remain the only real Inspector Palmu, but it has to be said that Mikko Kivinen is not at all bad in the role (and it is worth remembering that I am a Southwest Finn to the core!). Kivinen has a lot of sturdiness, and enough charm as well.

Leo Jokela is immediately second on my list of favorite actors in the Palmu films, and I was happy that Risto Kaskilahti took the character strongly in his own direction. Kämp’s singing scene is also so brilliantly dramatized that the audience erupted in spontaneous applause just before the arresting news of the death of Mrs. Alli Rygseck that ended the first act.

I also liked the director’s decision to emphasize the comedic dimension of the supporting roles, as in the case of engineer Erik Vaara (Pekka Huotari) and Constable Virta (Iikka Forss).

However, my favourite character was Eero Saarinen’s excellent butler Veijonen alias Batler, that slick submissive. Saarinen’s Veijonen gets a bigger role in the play than the character had in the film. My all-time favorite Leena Uotila is also great as old Miss Rygsecki with her cat’s head umbrella. A fun idea has been to slip different variations of Palmu’s surname into the text and into Uotila’s mouth: Pulmu, Pulma, Palme and whatever they were.

The text is therefore mostly faithful to the original story and its film adaptation, with a suitable flirtation at times. It’s also a good idea to use flashback scenes and still images. They bring a hint of cartoonish execution. The same impression is also given by the partly flashy costumes and strong make-up. For example, Miss Vanne’s (Vuokko Hovatta) costumes are spectacular and emphasize the character’s attempt to be bolder than she actually is.

Nothing mattered, even though TO-DEL-LA-KIN remembered the murderer and all the intricacies in advance. My friend, on the other hand, didn’t mind even though he didn’t remember them. Equally, we both enjoyed the funny, exciting and carefully executed play very much. Of course, you can ponder the degenerative effect of riches in depth while reading the text, but we left them at their own value this time. 

A warm recommendation for the play version of Finland’s best detective story!