In this chapter, Tulio's surviving films are discussed in thematic pairs. The themes emerge from his basic obsessions: temptation, loss of innocence, jealousy, passion and female decadence. Finally, Tulio's only comedy and one fragment which he actually disowned are discussed under the heading Anomalous Tulio. Many of these themes appear in most of his films, but this structure allows for the highlighting of Tulio's basic concerns through a thorough treatment of each of the themes in connection with the films that best exemplify them. The structure does not allow for fully chronological treatment of the films, and in some cases the pairs are formed of films of which the latter is a remake or a variation of the former. There is one exception even to this, as the discussion of Sensuela (1973), Tulio's last and most extravagant film, although a remake of Cross of Love (1946), is left till last. After all, this did provide the outrageous but rather sad finale to his career in filmmaking.

TEMPTATION AND RECONCILIATION

In Tulio's first two surviving melodramas, The Song of the Scarlet Flower (Laulu tulipunaisesta kukasta, 1938) and In the Fields of Dreams (Unelma karjamajalla, 1940), the male protagonist is a restless young man at odds with his wealthy family, who expect him soon to assume the responsibility of running their estate. But he is not prepared to settle down, and cannot resist the temptation of taking advantage of a beautiful maid to whom he in turn, handsome and charming as well as wealthy as he is, presents an irresistible temptation. He betrays both the young woman and his family by leaving everything behind as he steps out to make his fortune in the world.

The Song of the Scarlet Flower is based on Johannes Linnankoski's novel of the same name. When it first appeared in 1905 it was immediately recognised as a masterpiece. It became a popular bestseller and was soon translated into several languages. The novel is evocatively sensuous and offers subtle depictions of erotically charged relationships that intertwine with a deeply felt connection with nature. Olavi (Kaarlo Oksanen), the protagonist, is at first innocently minded but fundamentally an inconsiderate and self-centred youth brimming with erotic desire. He appears genuinely sorry when the first girl we see him tempting bursts into tears because of the inappropriateness of his approaches.