La tragedia di Pizzo Palù

In the 20's and 30's of the last century Arnold Fanck specialised in what we may call "Mountain films". In these films the mountains are characters of their own (they can be irritated and turn themselves against their climbers) but for the rest the films mostly lack full fledged stories. As such they resemble nature documentaries.

In "Die weisse Hölle vom Piz Palu" renowned director Georg Wilhelm Pabst was brought in to "repair" this lack of a plot.

My guess is that the scenes in the village and the mountan cabin are predominantly Pabst and the mountain scenes are predominantly Fanck. The mountain cabin scenes are about jealousy and rivalry (the man of a young couple senses that his fiancé is impressed by an experienced climber and wants to prove himself) The mountain scens are about heroism and self sacrifice when the three of them got into trouble in the mountains.

The self sacrifice is sometimes interpreted as having a hint of Nazi ideology (dying for your country). I wonder if this interpretation is influenced by the later career of Leni Riefenstahl, who in this film is "only" actress?

Apart from the story the beautiful images of the Fanck film are also there. They have been shot under difficult circumstances, the whole crew (from actors to cinematographers) being experienced moutaineers. I would like to call atention to the scene in which a rescue team with burining torches moves into the mountains and also to the scene in which the rescue team searches inside an ice crevasse.

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

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).