Review: Mannerheim ja saksalainen suudelma

MANNERHEIM ON STAGE AGAIN Asko Sarkola has internalised his Mannerheim.

The theme of Finland 100 years and the wars of the last century are now strongly present. This is also the case at the Helsinki City Theatre, where Mannerheim and the German Kiss, directed by Kari Heiskanen, recently premiered. It describes Finland’s reliance on Germany in the Civil War and the Continuation War. It was bad both times. The kiss of death was near.

Juha Vakkuri’s novel of the same name, which was published before the premiere, tells the story largely in the first person, shedding light on Mannerheim’s thoughts. The works complement each other nicely.

The novel examines in more detail the arrival of Mannerheim, who was dismissed from the Russian army in 1917, and his promise to future duties. The play starts at a later moment, when the victorious Whites are already carrying out their executions. There is no stopping at the bloody deeds, as the focus on the stage is Finland’s unstable position between the alliances, as part of great power politics, under Germany’s arms, and Mannerheim’s role in the related war negotiations.

A familiar role for Sarkola

On the stage of the City Theatre, we will see the lucid story of Mannerheim as a goal-oriented warlord. There is certainty in Asko Sarkola’s role as Mannerheim, part of which probably comes from the fact that he has played Mannerheim several times during his career, including in the TV film Power Game in August 1940 (2001), which is based on the novel by Veijo Meri, and in the film Frontline Front (2004), directed by Åke Lindman. Sarkola has internalised his Mannerheim.

The gentlemen who once walked in the war cabinets, with the exception of Mannerheim, are more alien to the theatre audience. A great help – and even necessary – in following the events are the photographs projected on the back wall of the stage and information about the warlords and other negotiators who are the role models of the characters in the play.

The whole thing is functional. All kinds of unnecessary things have been left out. This seems to be the guiding principle of Heiskanen’s direction throughout the play: clear and uncluttered.

However, in between the diplomatic twists and turns, there is at least room for the marshal’s women’s affairs. To lighten the load, to give rhythm and humanize Mannerheim’s character. The target of the courtship is Kitty Linder (Kirsi Karlenius). Mannerheim’s wife (Helena Haaranen) is also briefly met. There are no profits to be seen in this sector.

Mind games

This summer marked the 150th anniversary of the birth of Mannerheim (1867–1951). His career as an officer and statesman and his key influence on Finnish history explain his success. Over the decades, Mannerheim has been of interest to historians and artists alike. Their interpretations anger and delight the recipients.

The fictional Mannerheim, now on stage and on the pages of the novel, is an opportunity for the viewer to reflect on their own views on Mannerheim and the war years in question.