Prisioneros de la montaña

A beautiful frozen mountain landscape is the setting for some of the most spectacular film shots of the era which have not been surpassed even with todays technology - the use of shadow and light is excellent. The story is simple and believable of a young couple climbing in the mountains, she gets killed and he, unconsolable, wanders the mountains for years without her. Many years later another couple come to the same mountains, meet him and agree to climb with him as their guide. Disaster strikes yet again. The filming of the mountain rescue team and the local villagers is very well done. The fear of the families is clearly shown as they wait while their fathers, sons and brothers are risking their lives on the mountain and the psychological effects on the injured climbers as they battle with the elements is more than realistic. Excellent!

If I were to use just one word to capture the experience of seeing this film, it would be ASTOUNDING! Films dealing with mountain climbing such as THE WHITE TOWER, THIRD MAN ON THE MOUNTAIN or THE MOUNTAIN all pale in comparison with WHITE HELL OF PITZ PALU (1929).

There are two versions now available on DVD that are both worth seeing. Universal bought it for U.S. release and cut it from 133 minutes to a 79 minute length. This edition is offered by Grapevine Video (www.grapevinevideo.com)and was the first one that I viewed. With its source material being a 16mm reduction print the picture lacks somewhat, but in many ways this version plays much stronger then the 133 minute restored print offered by Kino.

Purchasing the Kino DVD I was pleased to see the stunning picture coming from a 35mm nitrate print. There were many fascinating scenes missing from Universal's release, but the film lacked the power of the shorter length. It is said that Universal used unused shots from this film for inclusion in several of their later sound films -- and that is not hard to believe. There are stunning shots all the way through the picture, but one gets the feeling that the makers were reluctant to trim any of their fascinating material.

I'd recommend purchasing both DVD's and watching the Grapevine release first. Then take a look at the uncut Kino version to see the wonder of the cinematography and enjoy the additional scenes.

I think you will find the dramatic power of the film is strengthened with the trimming. One might wish that Universal had left a bit more in their cut, but the film does work better with tightening.

At any rate this 1929 silent film contains excellent performances and astounding climbing shots, the likes of which I have never seen before!

This 1928 movie is filmed entirely in black and white with minimal German dialogue. The White Hell of Piz Palü opens with the male protagonist, Dr. Johannes Krafft, who mountain climbs with his wife on their honeymoon. At the sight of an avalanche, he laughs arrogantly. Nature seems to retaliate, and moments later Dr. Krafft's wife slips, plummeting down a small, deep crevice. The encounter with forces of nature initiates Dr. Krafft's grief-driven search effort to rescue his wife.

Dr. Krafft is later joined by another couple, Maria Maoni and Hans Brandt. Collectively, they embark on an epic journey to conquer nature's untamed forces. Replete with majestic scenes of snowy mountains, blowing clouds and untainted lands, this film is the perfect example of a Bergfilm. The film takes place in the Dolomites, a section of the Italian Alps. Arnold Fanck, the director, is also the father of the Bergfilm and provides a genuine representation of the German mountain film. Nature functions as its own character, exerting its powerful forces upon the mountain climbers.

The landscape scenes and vast openness present in this film contribute to its aesthetic representation of the mountains. The plot is simplistic and the lack of actual conversation compels the viewer to focus his/her attention on nature as a driving force. Even though there is no color, the white, snowy mountainous setting speaks volumes and invites the viewer to see the innocence of white as a darker shade of hell.

Watching the movie in 2016 and being a mountaineer myself, I am in awe at the shots they did with the very limited tech they had back in 1929, both in climbing and in filming. Daring to say the least (and that extends to the flying scenes by Udet). I would love to see a Making-Of of this movie but that is obviously not going to happen.

Leni Riefenstahl is at her best as an actor and Gustav Diessl delivers a very convincing performance, lest not forget the actor that plays the mountain guide.

I would suggest this movie to everyone who climbs in the Alps, just for the climbing part (the middle 40 mins of the movie).

Other comments nicely point out the excellence of this film's mountain photography. That's why you should go watch it. Yet, before viewing it, i feared the plot and the film's perspective on humankind might be quite annoying. Gladly, this is not so.

Leni Riefenstahl has a rather doubtful reputation for acting Nazi propaganda films - but this film is quite free from patriotic or chauvinist sub tones. In fact, it is pleasing even from a modern feminist perspective, actively avoiding and rebuking gender clichés, which is quite astonishing in a piece of art dating from pre-WW2 times.

Many ancient mountain films, in particular German ones, praise heroic fight. On first sight, some people claim this one does so, too. On closer inspection, i don't think so any more. Granted, Dr. Krafft does act heroically - but it's completely obvious less obsession and more prudence from his part would have served everyone much better. Hans wants to be a hero - but for that very reason is proved the greatest fool. Maria, the least heroic of all the party and the most sensible, clearly leaves the best impression in the end. A film can hardly promote heroism by showing off its dumbness...

The film has its weak points, but naming these rather shows how good it actually is: The film's location is the Piz Palu north face. Yet, many scenes have been taken in the Piz Morteratsch south east face. So far, no problem - a north face has bad sunlight, but the film dwells on light. On top of that, turning a film in the Palu north face would have been suicidal. That ice wall is indeed extremely dangerous and quite famous for its icy avalanches. Yet, the faking of the location could have been better concealed in many scenes. Viewing a panorama in the background that simply cannot be seen from the location the foreground is meant to represent IS disturbing if you know the whereabouts. A few glitches are even worse: For probably technical reasons, when searching for climbers in the steep Palu north face, the film actually shows scans of a flat glacier basin (the Vadret Pers glacier tongue, as far as i remember). This gross inconsistency will annoy you even if you do not personally know the Bernina mountains.

The weakest point of the film are the subtitles. Clearly, they are meant to help understanding of the plot - remember this is a mute movie. A few of them are certainly required, but they are simply far too numerous, and many just rehash what is obvious from the fine pictures, anyway.

But hey, superfluous subtitles and faked locations - we ought to be glad not to find more serious defects to complain about...