The White Hell of Pitz Palu

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!

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.

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).

An instructive reminder that not all German silent films of the twenties were expressionist fantasies. 'The White Hell of Pitz Palu' represents a prime example of a German 'mountain' film that ends with an awe-inspiring night scene with skiers carrying torches that would have done 'The Triumph of the Will' proud.

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