O Inferno Branco do Piz Palü

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.

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.

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.

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...

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!