It
is easy to speculate why Finnish linguist and diplomat Gustaf John Ramstedt had
such an affinity for the Mongolian language and people. He started his field
research at a time when Finland was a satellite of imperial Russia and Mongolia
was controlled by China. Finland would achieve its independence after the 1917
revolution, but alas, Mongolia would essentially trade Chinese hegemony for
Soviet domination. Ramstedt’s heart remained in Mongolia, but he served his country
with distinction as its ambassador to Japan (and Manchuria). Passages from
Ramstedt’s memoir contrast with hugely cinematic contemporary footage in Niklas
Kullström & Martti Kaartinen’s Eastern
Memories (trailer
here),
which screens during the 2018 Margaret Mead Film Festival.
Ramstedt
regretted the time away from his family, but he was still an eager and dedicated
scholar, who found the Mongolian language an endlessly rich research subject.
In contrast, he was a reluctant diplomat, but his facility with languages and big
picture knowledge of Russian and Chinese politics made him quite effective in
the post.
In
both capacities, Ramstedt saw the two countries enter the modern era, but one
was dragged there rather awkwardly, while the other willingly jumped head
first. Although it may not be their intention, Kullström & Kaartinen’s
documentary visibly illustrates how Japan’s capitalistic approach contrasts so
dramatically with the socialism imposed on Mongolia for years. Despite the
apocalyptic earthquake of 1923 and a devastating war that culminated with two
atomic bombs dropping on major cities, Japan has a thriving economy and a high
standard of living. In contrast, Mongolia is pockmarked with the bighted ruins
of failed industrial projects.
Yet,
ironically, the Mongolian segments are far superior, because they are more focused
and the visuals of the steppe are even more arresting than Shinjuku by night. There
are still plenty of impressive images seen during the Japanese segments, but
the film periodically wanders from Ramstedt’s narrative into navel-gazing
cultural commentary.