Review: Stalinin suloinen ruoska
Director Kari Heiskanen’s distinguished history series continues – after Mannerheim and Kekkonen, it’s Stalin’s henchman
Director Kari Heiskanen has produced a lot of historical plays for the stage of the Helsinki City Theatre in recent years. In 2017, a play about Mannerheim was born, and a year later, it was Kekkonen’s turn.
The series will continue when Heiskanen returns to the time before Kekkonen’s presidential terms in the play Stalin’s Sweet Whip , which he has written and directed. The Second World War has ended for Finland and the country is forced to commit to driving the Germans out of the country, to heavy war reparations and to accept the arrival of the Soviet Control Commission in the country.
The Soviets consider Finland and the Finns to be stubborn jerks who must be monitored, guarded and defeated. Finns are not trusted until the war is over, which is of course natural in this world situation.
The supervising “big brother” is Andrei Zhdanov, a colonel general with a frightening reputation, who seems to have a solid vision of squatting the Finns. In part, his enthusiasm is based on his desire to show Stalin that he is a capable leader. In part, this is a slight antipathy: he does not seem to have much respect for Mannerheim or Paasikivi.
War criminals must be hanged
Zhdanov has three things that he demands to be implemented urgently: the expulsion of the Germans from Finland and the handing over of German weapons and property to the Russians, the swift implementation of war reparations, and the punishment of war criminals by hanging.
On the last point, both Minister of Justice Kekkonen and Prime Minister Paasikivi are fighting back. In the opinion of the Soviets, the entire wartime government of Finland should be hanged as soon as possible. This is not acceptable, Finnish law already prohibits it.
Zhdanov and Kekkonen argue fiercely about the matter, causing headaches for the whole of the chaotic Finland. The situation in Finland is not flattering: there is a shortage of many things and the common people are suspicious of Russian guards.
The country will hold post-war elections, and Hertta Kuusinen and her communist party will be able to celebrate a great election result. The unification of Finland and the Soviet Union is the dream of both Kuusinen and Zhdanov, and now it could become a reality. It’s just a shame that Kekkonen is putting a lot of work in the wheels, and the wish doesn’t get the other parties on board.
The play tells the story of an era in Finnish history when you could really be on your toes in Finland. Finns were monitored, suspected and eavesdropped. Relations with the Soviet Union were fragile. There was suspicion on both sides, as neither side trusted each other.
Politicians had a hard time with the Soviet Union’s demands, which seemed to grow out of proportion. Finland succeeded well considering the circumstances: we paid large war reparations, the Germans were able to get out of the country and, best of all, our independence was preserved.
It didn’t happen to us like so many other countries, because we couldn’t be swallowed up as part of the big Soviet Union. The play brilliantly depicts this uncertain and flammable post-war period.
Small, hilarious humour
Sixten Lundberg plays the bullying and frightening head of the Control Commission Zhdanov strongly. The character is downright Hitler-esque crazy in his gestures and appearance, even with a short night’s sleep. As an asthmatic, he is sometimes rushed to hospital, but he soon resumes working. So he is downright manic, just like Hitler.
Jari Pehkonen plays a humorous role as Pavel Orlov, the political advisor of the Control Commission. He is a chattering diplomat who eagerly softens Zhdanov’s harshness and harshness. Delicious role-playing!
Petja Lähde has a dual role as Kekkonen and Georgi Malenkov. Especially Malenkov’s part is absolutely amazing. As a strict Stalin man, he comes to Finland for a quick inspection visit and puts Zhdanov in order and in order. He shows Zhdanov who is really in charge here.
Merja Larivaara’s dual roles as Hertta Kuusinen and the woman in the detachment are hilarious. Especially the woman in the separate section with her shorthand makes the audience laugh.
Even though the play tells about the heaviest phases in Finnish history, it has a nice touch of humour, and of course the end of the play leaves a nice smile on your face. It comes to mind: whoops, that’s what you got!