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IMDbPro

A Luz Azul

Título original: Das blaue Licht - Eine Berglegende aus den Dolomiten
  • 1932
  • 12
  • 1 h 25 min
AVALIAÇÃO DA IMDb
6,8/10
1,5 mil
SUA AVALIAÇÃO
Leni Riefenstahl in A Luz Azul (1932)
DramaFantasiaMistério

Adicionar um enredo no seu idiomaWhen the moon is full, young men die attempting to reach the mysterious blue light in the mountains.When the moon is full, young men die attempting to reach the mysterious blue light in the mountains.When the moon is full, young men die attempting to reach the mysterious blue light in the mountains.

  • Direção
    • Leni Riefenstahl
    • Béla Balázs
  • Roteiristas
    • Béla Balázs
    • Carl Mayer
    • Gustav Renker
  • Artistas
    • Leni Riefenstahl
    • Mathias Wieman
    • Beni Führer
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    6,8/10
    1,5 mil
    SUA AVALIAÇÃO
    • Direção
      • Leni Riefenstahl
      • Béla Balázs
    • Roteiristas
      • Béla Balázs
      • Carl Mayer
      • Gustav Renker
    • Artistas
      • Leni Riefenstahl
      • Mathias Wieman
      • Beni Führer
    • 24Avaliações de usuários
    • 10Avaliações da crítica
  • Veja as informações de produção no IMDbPro
  • Veja as informações de produção no IMDbPro
    • Prêmios
      • 1 vitória e 1 indicação no total

    Fotos42

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    + 35
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    Elenco principal6

    Editar
    Leni Riefenstahl
    Leni Riefenstahl
    • Junta
    Mathias Wieman
    Mathias Wieman
    • Vigo
    Beni Führer
    • Tonio
    Max Holzboer
    • Innkeeper
    Martha Mair
    • Lucia
    Franz Maldacea
    Franz Maldacea
    • Guzzi
    • Direção
      • Leni Riefenstahl
      • Béla Balázs
    • Roteiristas
      • Béla Balázs
      • Carl Mayer
      • Gustav Renker
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários24

    6,81.4K
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    Avaliações em destaque

    tophoca

    Stunning film and a tribute to a great lady.

    Unlike the previous reviewer, I have an excellent print of "The Blue Light" that Leni Riefenstahl sent to me a few years ago. This is truly a magnificent film and along with "Tiefland" should be for what this great lady is remembered for. "Triumph of the Will" and "Olympia" are stunning documentaries but "The Blue Light" and "Tiefland" are outstanding movies and a tribute to the greatest female film director ever.
    8David-240

    Gorgeously shot, leisurely paced.

    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.
    8Philipp_Flersheim

    Stunningly photographed

    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.
    8awalter1

    A tragic modern fable.

    `The Blue Light' tells the story of a small mining village lying in the shadow of an unusual mountain. During every full moon a blue light issues from the peak, causing young men in the village to take leave of their senses and attempt to climb the mountain in the middle of the night. This always ends in death for one of the village men.

    Junta, a young woman who lives in the hills outside the village, is the only person who has mastered the cliffs, and because of this she is an outcast. One day a stranger arrives in the village, and this man becomes entranced not with the blue light but with Junta. Eventually, he follows her up the peak and discovers the mountain's mystery, which Junta has so far kept to herself. Unlike Junta, though, the stranger cannot keep a secret. A minor catastrophe ensues, signaling simultaneously the doom of Junta and of the modern imagination.

    It seems uncomfortably ironic that the film was both directed by and stars--as Junta--Leni Riefenstahl, the woman who would later become known as `Hitler's filmmaker,' responsible for some of the most notorious Nazi propaganda films. Nevertheless, `The Blue Light' remains a remarkable achievement for its operatic tone and imagery and for the brilliant mountain climbing sequences. Junta's final scene is especially striking, ending in a sequence which blends compelling symbolism with poetic cinematography--a moment worthy of Jean Cocteau.

    In his autobiography, author Robert Aickman noted `The Blue Light' as his favorite film. He called it a `fable of the post-machine world and of the nature of love.' Elsewhere Aickman wrote: `Dr. Freud established that only a small part, perhaps one-tenth, of the human mental and emotional organisation is conscious. Our main response to this discovery has been to reject the nine-tenths unconscious more completely and more systematically than before.' Junta is one of those rare figures who is in tune with the enigmatic blue light of the unconscious self and open, as well, to that vital emotional reaction to natural beauty. It is this that makes Junta worth more than a hundred villages filled with greedy mountain-tamers. Perhaps it is no great mystery that a German film like `The Blue Light' should be made as Hitler gained power; insightful expressions of the human soul have always erupted in the most unlikely of times and with the dream thieves following close behind.
    7Lars-65

    Visually stunning mountain film!!!

    `Das blaue Licht' (The Blue Light) tells the legend of Junta, a strange woman living in the Alpine heights above a Tyrolean village, who has privileged access to a cave of crystals. On full-moon nights a blue light emanates from this secret grotto, luring young men from the valley to seek out the force of the radiant beam. Their quest invariably end in death and causes the towns-people to vilify junta. A painter from Vienna, Vigo, befriends the outcast woman. He becomes her protector and falls in love with her. Following her one blue-lit night, he discovers the way to the cave. He draws a map, thinking that the safe passage to the grotto will serve the best interest of both Junta and the villagers. The towns-people arm themselves with tools and climb to the cave, plundering the valuable crystals and celebrating their new found fortune.

    Riefenstahl's film -(fantasy) sanctifies nature and reflects a fascination with beauty and harmony. The photography of this picture is visually stunning, and Riefenstahl's masculine beauty and physical abilities make her the perfect choice for the role of Junta. `Das blaue Licht' is one of the last great Weimar films and a ‘must see' not only for movie buffs.

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    Interesses relacionados

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    Mistério

    Enredo

    Editar

    Você sabia?

    Editar
    • Curiosidades
      This was a groundbreaking film at the time. It was a sound film shot all on location high in the mountains. Real mountain people were used as supporting players.
    • Erros de gravação
      At about 20 minutes the moon comes up and moves from right to left. In the northern hemisphere it moves from left to right.
    • Versões alternativas
      Director Leni Riefenstahl recut and re-released a new version of the film in 1952.
    • Conexões
      Edited into Die Macht der Bilder: Leni Riefenstahl (1993)

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    Perguntas frequentes15

    • How long is The Blue Light?Fornecido pela Alexa

    Detalhes

    Editar
    • Data de lançamento
      • 24 de março de 1932 (Alemanha)
    • País de origem
      • Alemanha
    • Idiomas
      • Alemão
      • Italiano
    • Também conhecido como
      • The Blue Light
    • Locações de filme
      • Foroglio, Val Maggia, Cantone Ticino, Suíça
    • Empresa de produção
      • Leni Riefenstahl-Produktion
    • Consulte mais créditos da empresa na IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      • 1 h 25 min(85 min)
    • Cor
      • Black and White
    • Proporção
      • 1.37 : 1

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