If you like lotsa waving and constantly glaring through windows - the old battle-axe of Mother (in law / Annie Mörkt) especially at that – then with an abundance of this, you'll just adore this in more or less remake (rip off 'version') of the director's own few year's earlier, but far more fun, 'In the Fields of Dreams', with e.g. exactly same rival spurned love for one of the brother owners of the farmstead, her even repeating the exact same lovelorn lines of the equivalent character role from that earlier, too. (Lying on the genre's trademark hut straw-pile, her earlier dance partner implores: "Do you love me, Irma'" (Rauha Rentola) "NO! -(Turns head away)- but what do I care?": plus, the director cut and pasted in (or "recycled" the apologists kindly term it) several same scenes, from that earlier film's nostril flaring galloping horse head close up, to (genuine, documentary style) loggers on the rapids (more fully uncut in his 11 year earlier 'The Song of the Scarlet Flower', and that already reused in two year earlier 'Passionate Power' too!): even his regular leading lady, Regina Linanheimo, with her usually almost literally eye popping style, plays rather subdued in this one, as though she too, found the themes becoming a little worn. Ohh, but you do get see her bare bum, as she enters the standard Finnish sauna scene; although note, this is also an equal treatment offering, so that later, ya get several blokes's rear ends to see, too, as they partake of snow rolling après theirs: Now, that might seem like salacious detail to highlight, but clearly the distributors knew they had to devise a good come on for this otherwise tired dross, coz they put both those shots in the trailer, too.
Otherwise, other than spotting similarities and 're-uses' - (check the accordion player in the country dance scene: I hope he got repeat performance fees, coz I've spotted him in exactly the same misery looking playing in at least three of the same director's films!) - perhaps the only reason to tolerate the unwinding of this self reverential rip off, is to watch the debut performance of stunning Soviet statue chiselled features like, lead guy Åke Lindemann, in which he makes a great fist at portraying the brooding bad brother who although betrothed to haystack compromised (again!) Regina, by the supposedly 'good' (not permanently morose!) brother (Willem Markus, as 'Aarne', and, guess what? Exact same name as the bad guy brother in that earlier 'Fields of Dreams' progenitor), still he can't persuade her to be his true love own (emphasised in protracted bedroom scene = geddit?)
Except for a couple of amusing (sorry, thrilling) rocky, bouncing tussles on a regularly used perilous rope bridge across the titular rapids - (and why the blinking heck are all the logs on the other side of the raging river bank, anyway?) - this one shows poor Tulio director just wasting and losing his shtick, and proves as tedious as it is portentous.
Otherwise, other than spotting similarities and 're-uses' - (check the accordion player in the country dance scene: I hope he got repeat performance fees, coz I've spotted him in exactly the same misery looking playing in at least three of the same director's films!) - perhaps the only reason to tolerate the unwinding of this self reverential rip off, is to watch the debut performance of stunning Soviet statue chiselled features like, lead guy Åke Lindemann, in which he makes a great fist at portraying the brooding bad brother who although betrothed to haystack compromised (again!) Regina, by the supposedly 'good' (not permanently morose!) brother (Willem Markus, as 'Aarne', and, guess what? Exact same name as the bad guy brother in that earlier 'Fields of Dreams' progenitor), still he can't persuade her to be his true love own (emphasised in protracted bedroom scene = geddit?)
Except for a couple of amusing (sorry, thrilling) rocky, bouncing tussles on a regularly used perilous rope bridge across the titular rapids - (and why the blinking heck are all the logs on the other side of the raging river bank, anyway?) - this one shows poor Tulio director just wasting and losing his shtick, and proves as tedious as it is portentous.
