Das blaue Licht - Eine Berglegende aus den Dolomiten

Leni Riefenstahl, soon to become notorious as Hitler's favorite director, made her directorial debut with this vivid and beautiful film. It tells the tale of a mysterious blue light on top of a mountain that lures young men to their deaths. The only person who can reach it is a young outcast played by Riefenstahl herself. She is exquisitely beautiful - so much so that I am amazed Hollywood did not beckon.

It's all a bit Freudian and far too slow at times, but the photography is so sublime that it doesn't matter. Black and White has seldom looked so beautiful and the use of light is magnificent. Riefenstahl certainly knew how to film and light faces (including her own), a talent that would later enhance her propaganda films for the Nazis. This film is more than an historical curiosity - it is quite a work of art.

Leni Riefenstahl filmed "Das blaue Licht" before becoming involved with the Nazis. She changed her story of how she worked on the film so often that today, it is extraordinarily difficult to cut through her web of lies and halftruths and to arrive at something that seems at least plausible. Fortunately, we have Hanno Loewy's work on 'Das Menschenbild des fanatischen Fatalisten, Oder: Leni Riefenstahl, Béla Balázs und Das Blaue Licht' (available on the server of Constance university). Three things seem beyond doubt. First, Riefenstahl's involvement in directing 'Das blaue Licht' was peripheral. The director was Béla Balázs. When the film was reissued in Nazi-Germany, Riefenstahl had him eliminated from the credits (a later re-issue in Austria in the 1950s mentioned him again, but only as an assistant). Second, in December 1933, Riefenstahl authorised Julius Streicher - the notorious antisemite and Gauleiter of Nuremberg - to deprive 'the Jew Béla Balacs' (sic!) of any income from the film he might in future claim. She must truly have been a nasty piece of work. Third, much of the cut of the film and at least part of the cinematography was done by her, and this is stunning. The way Riefenstahl photographed the Alpine scenery and the use she made of light and shadow and of mist and clouds are unsurpassed.

The plot is less exciting, though suggestive, and it evidently speaks to modern sensibilities concerned with the destruction of nature. The central element is the betrayal of a feral young girl (Junta, played by Riefenstahl, whom the villagers believe to be a witch) by a painter visiting the Alps. The painter discovers the girl's secret (a cave full of cristals that give off a blue light when the moon is full), tells the villagers about this, and they destroy the cave for material gain. The symbolism is clear: this is a kind of rape both of nature and of the girl. No wonder she falls to her death after having discovered what happened.

I am not convinced of the idea that it was the way the film depicts village life that made it attractive to the Nazis. The villagers are not upstanding Germanic types that conform to the national-socialist 'blood-and-soil' ideal; rather, they are the villains: narrow-minded and out for profit in a perfectly capitalist way. Also, the one positive figure in 'Das blaue Licht' - the girl Junta - does not even speak German but only Italian, and she is betrayed by a German. What helped Riefenstahl's career in the Third Reich was the fact that the film demonstrated her talent for cinematography. Moreover, she was good-looking in the way the Nazis approved - no wonder Hitler liked her.

Enchanting! But beware of the silent version!

This film was made in a sound and a silent version, as there were some theaters at the time that were still not equipped for sound. Unfortunately, it is the silent version that is being widely sold. This version is vastly inferior. The sound version is a hauntingly beautiful film. I have a sound version, but it is of poor quality and many subtitles are difficult to read. This film should be remastered. There are superb quality short excerpts from the film in The Wonderful Horrible Life of Leni Riefenstahl.

Leni Riefenstahl passed away yesterday at the age of 101. She died in her sleep. At the age of 100, she was still scuba diving!

She may have been the greatest motion picture director of all time, but she was forbidden from making motion pictures for over half a century, an incalculable loss to the art of film. I hope that they issue restored versions of her movies now, particularly my favorite, "The Blue Light", a fairy tale set in the Alps, a movie that she - a young girl then - wrote, directed, and starred in!

Note: I previously posted part of this commentary a couple of years ago (see below), but it was posted as "Anonymous" for some reason.

First off, I'd like to point out that the silent and "sound" versions are the same movie (same images from start to end), except that the intertitles have been removed from the "sound" version and voices dubbed in (sorta like what they did with Chaplin's The Gold Rush in 1942, except that here the conversion works fine instead of being hellishly awful). The "sound" version has little background sound being mainly voices here and there - and there is little speaking anyway. More importantly though, on the DVD I rented, the picture quality of the silent version was atrocious while that of the "sound" version pristine. All that said this is a very simple and sweet fable, aspects of which reminded me of Picnic at Hanging Rock as well as some of Gus van Sant's latest movies. One of the best films from the early 30s.

Anyone interested in film will find their way here, but I am supposing you need to steel yourself.

You may come because you know what this woman invented in terms of composition of the interframe. I place her above Eisenstein for both effect and importance.

You may come because you are interested in how film can actually change instead of merely reflect the world. It can, it does.

Or you may simply come because you are fascinated by the woman, a dancer, celebrant of the body, an Arian ideal, sexually active for 75 years including with top Nazis. Shunned by the film world, and finding a new challenge in underwater photography.

But when you come, you will confront a strange form of narrative, the spiritual metaphor, the Goethe model with blunt, plain cosmology. Its that used by Nazis extremely effectively and now appropriated by similar zealots. Extreme differentiation between good and evil: good fundamentally linked to spiritual forces which we do not deserve. Only severe dedication can allow us to deserve to adore it. Its all rather curious how superstitious structures can be sold, and you'll have to slog through it. And with some extraordinarily blunt acting.

("Sir Arne's Treasure" of a dozen years earlier did all these things with natural skill, and they work.)

But what you will get is some astonishing composition, even in this her very first film as director. A striking location that is almost unbelievable, but the most striking thing is her in the local. Every time she is set in the mountain, it is done with such lightness that we cannot avoid feeling visited by the supernatural. You have to see her climbing a vertical wall with bare hands and moccasins, thousands of feet up. You have to see her scrambling like a sprite around the bottom of the waterfall. You even have to see her present a sort of holy pulchritude while sleeping. This alone impresses once it settles that everything you see of her was designed by her. It weaves a fascination for a transcendent earth and womb that's genuine.

So my visit with this was a matter of awe at what a person can do, but I have that from elsewhere. More, it was accompanied by a parallel awe at the pull of the story, the story that I know ends badly and possibly always will, but we follow it.

I suppose that a slight, a very slight adjustment in this woman's makeup would have made a profound difference for several billions of people, and I further suppose that had she been trained slightly differently in dance that adjustment, that introspection would have been implanted. So if we had that fabled, magical time machine and wanted to go back in time to prevent the holocaust, perhaps killing Hitler isn't the right touchstone. It may be spending an evening in deep conversation with the man who loves the woman who taught Leni's dance teacher. Yes, that would do it.

Ted's Evaluation -- 3 of 3: Worth watching.