The White Hell of Pitz Palu

Trailer—The White Hell of Pitz Palu

The White Hell of Pitz Palu_720p(480P)

source: The White Hell of Pitz Palu

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.

It's a credit to co-directors G. W. Pabst and Arnold Fanck that to some extent 'The white hell of Pitz Palu' feels like a film ahead of its time. To be sure, it bears idiosyncrasies of the silent era - subtitles, of course, but also singular close-ups of actors' faces, and a score that feels pointedly direct in its dramatic tenor. Some shots, especially of the surrounding environment, also carry a certain forthrightness to them - yet there are many others that employ a subtlety and keen eye that I think exceeds the film's contemporaries. More to the point, the screenplay seems open and expansive, a contrast to often more straightforward and strictly constructed scenes in other pictures of the era. Many moments in 'Pitz Palu' come and go not at an artificially defined pace, but at a more natural gait that allows the drama to play out according to its own devices. This also allows the cast to wholly embrace their roles, and inhabit the characters as they will. Even in just the fundamental craft - this pairing of film-making and storytelling styles - this movie is captivating. While adeptly including measures of drama and romance, 'Pitz Palu' is concretely an adventure film, and in that slant as well it seems to echo features to come more than those that may have showed alongside it in theaters. At that, the narrative is solid in its simplicity - and more remarkable for the sense of thrills and daring that it imparts; kudos to Fanck and co-writer Ladislaus Vajda for outstanding, arguably visionary writing. And once more - Fanck and Pabst's realization of the material is just as exquisite. Intermittent shots of the mountains impart the looming grandeur and untamed danger of nature, and fine consideration of light and shadow serves the same purpose. We're treated to much excellent, eye-catching imagery generally, including thought for perspective (as in foreground versus background) that again seems ahead of its time, and the camera picks up every detail to be had. I personally would have somewhat preferred a bit more focus on the chief characters; instead there's a significant portion of the runtime that's concentrated elsewhere. The gravity of the scenario, and the overall impact of the story, is lessened as a result. Even then, though, the picture continues to emphasize the competing majesty and peril of the peak, as though the very mountain were a character - a passive, intrinsic antagonist. And where the top-billed cast is centered, they're superb. Gustav Diessl is great as Dr. Krafft, wielding hard-boiled determination and strength underscoring an unremitting sorrow. Ernst Petersen, as Hans, has a role that's marginally more dynamic, but also downplayed compared to his costars - yet he handles the mixed emotions and difficulties of the part well. Meanwhile - in retrospect, Leni Riefenstahl's involvement is rather dubious, and it's impossible not to view her contributions to cinema in light of her abhorrent mark on world history. Still, she was quite a good actress, and as Maria she bears steadiness, range, and nuance that lends much weight to the picture. If only Riefenstahl's legacy was strictly in the film industry at large, and not more so as a propagandist for the worst people in the world. All this having been said - though not wholly perfect, at the end of the day 'The white hell of Pitz Palu' holds up, more than 90 years later. It's exciting and engrossing, and keeps our strong attention from start to finish. In the decades since there have been many features that can't begin to compare, and aren't nearly as absorbing. It's a testament to the immense skill of cast and crew alike that this remains so riveting. I can appreciate that silent films are more difficult to engage with for some viewers, yet I think it's a mistake to pass on this on that basis alone. For anyone willing and able to connect with pictures from so long ago, 'The white hell of Pitz Palu' is a fantastic adventure that's well worth checking out.

Some years after his wife lost her life on the notorious Pitz Palu mountain, a seasoned mountaineer reluctantly agrees to guide a young couple to its peak with tragic consequences. G. W. Pabst's 'other' film from 1929 is a lesser-known classic in its own right featuring Leni Riefenstahl, a photogenic actress who would go on to become a director of note - and notoriety. Pabst was not a Nazi, but co-director Dr. Arnold Fanck, who filmed the movie's exteriors, did join the party in 1940 and it's tempting to identify an association between this movie's endless glorification of the mountain's imposing natural purity and much of the nation's obsession with racial 'purity' that was to follow in the '30s. Nevertheless, this is a gripping drama with some truly breath-taking cinematography.

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.

You just have to know a character is doomed when she is mountain climbing while wearing a skirt. Sure enough this one bites the dust within 5 minutes of the start of the picture. The hero has a grip of iron but the rope breaks. The hero's heart is broken and he spends his lonely life wondering the alps. Later he meets up with a young couple (Leni Riefenstahl and Ernst Petersen). Despite the hero's obvious death wish and the ominous weather, the couple decide to join him in an attempt to conquer the mountain's dangerous North Face. They are, of course, trapped by avalanches. Leni Riefenstahl glows with athletic beauty and the scenery is magnificent. Other than that I found the movie somewhat tedious. I was fascinated with the attitude towards women. Although Leni refused to be left behind by the men and at least did not attempt to climb in her skirt, she did almost nothing to try to get the little group rescued even though she was the only uninjured member of the party. It wasn't like there was much to do. It mostly consisted of calling out and waving objects around but she didn't even do that.

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

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).