La tragedia di Pizzo Palù

Most of the time, its the world. Its not the story that matters, or the inflections we see as jokes. Or any of that when I watch a movie.

Most of the time it is the trill of entering another universe. A different cosmology where the forces that drive souls are different from the one I have chosen to live in. Its especially rewarding when I know that the cosmos was real so far as the filmmakers are concerned. So, for instance I like those films from radical Christians about fighting the devil in the end times, because the film itself is part of that battle for them.

I like watching films from the US side of the cold war, where impending and nearly certain brimstone was expected from an evil empire, the science stolen, with agents still among us.

And I like watching these German mountain films. All the ones I mention are generally insipid, but the filmcraft of these in terms of the visuals is competent and sometimes interesting. For instance in this one there is a remarkable — I will go so far as to say unforgettable — visual of the villagers rousing in the night for rescue. The scene is of dozens of men with spectacular torches (they called them pitch torches) weaving through snow hollows in a sort of swooshy haunt. But that's visual froth on the beer.

What we have here is a strange association of nature with place, of purpose with nature and of love as a sort of purpose. One can readily see how this world could support a notion of global destiny, and in fact one can see how close it is to the cosmos of Polish Jews and see why the threat seemed so real. You can even trace it through the cinematic career of one remarkable woman, Leni, who evolved through the mystery of place to the mystery of the body. The natural body, using a very specific notion of "nature."

But for someone like me, a cosmological tourist, a collector of abstracted curios, this one in Leni's chain is the most jarring because it has the strongest pulse. You hardly notice the woman. Its all mountain blood.

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

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...

Former geologist Dr. Arnold Fanck created that extraordinary genre known as the 'Mountain film'. Visually stunning documentaries though they are, their value as pieces of human drama is debatable. Suffice to say this one is a glorious exception and has an added dimension thanks to its co-director being none other than G. W. Pabst, indisputably one of German's finest who was brought in at the suggestion of one of its stars, Leni Riefenstahl, well, according to HER anyway!

Whilst Dr. Fanck takes care of the scenic grandeur and shows us the mountain in all its rapidly changing moods, Herr Pabst handles the emotional tensions between the three protagonists, honeymooners Hans and Maria and the haunted figure of mountaineer Dr. Krafft.

Ashley Irwin's score for the 1998 restoration is never ceasing over its 135 minute length but is especially effective when accompanying the thrilling rescue attempt and the astounding aerial acrobatics of former WW1 ace, stunt flyer and future head of the Lufwaffe Ernst Udet, whose biplane soars and swoops among the peaks like an eagle.

As Krafft the always excellent Gustav Diessl brings his powerful presence to bear whilst Leni Riefenstahl as Maria is surprisingly appealing under Pabst's sensitive direction. Although not exactly one of the greatest of actresses she learnt the craft of film-making from Fanck and Pabst and became one of cinema's most superlative editors.

The mystic element of this and others of its type could not fail to appeal to the Teutonic temperament and it would not be long before the mysticism of the mountain cult manifested itself in the cult of Hitler.

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!

Was not sure as to whether 1929's 'White Hell of Pitz Palu' would be my thing, as the subject is not one of the ones that would immediately appeal or be of significant interest to me. What got me to see it was my undying and long term love of classic film, being someone who has liked to loved other films that the directors and Leni Riefenstahl did. The positive reviews from trusted critics also fascinated me and were difficult to resist.

Although 'White Hell of Pitz Palu' won't be a personal favourite of mine any time soon, it was a very well done film in many ways. A very good film, nearly great even, with many brilliant things and few drawbacks, that is deserving of more credit. It is good to see most people here holding it in high regard and don't have much to add to what has been said very well already. 'White Hell of Pitz Palu' is not one of master director GW Pabst's best, but it is one of the best films of the not quite as influential Arnold Fanck. Riefenstahl is in a role that plays to her strengths.

Narratively 'White Hell of Pitz Palu' is very slight and thin under the surface. Meaning that there were for my tastes some dull slightly drawn out stretches, the film not grabbing me straightaway from a story perspective.

The character writing could have done with more meat, Maria is the exception to this but this is more down to Pabst's direction of Riefenstahl, he was unique in his direction of actresses and developing their strengths and that is obvious here. It is another story, in a good way, visually though when it comes to talking about being grabbed straightaway.

Because 'White Hell of Pitz Palu' is a visual triumph and looks breathtaking. The scenery captivates and is full of beauty and atmosphere. Enhanced by the perfectly framed and never static or overblown cinematography. The lighting also captures the mood perfectly. The direction is great from both directors, Pabst's is more distinctive for especially the seamlessness of the editing and the authenticity of the locations but Fanke's alpine footage is quite extraordinary and immediately recognisable.

It is a hauntingly scored film and the storytelling mostly has a lot of tension and one cares about the outcome. It does bring a lump to the throat. Riefenstahl is luminous and very commanding and affecting, one does care for her plight which was true for many of the films where Pabst was director or heavily involved in. Gustav Diesel is another standout, his character is not quite as interesting but the authority and intensity is present in his performance.

Concluding, very good and nearly great. 8/10