Evies Blog

Unlike Pabst, Arnold Franck has been a figure unexplainably forgotten at the moment of naming the big German filmmakers in this diamantine period, where the flame of the creativeness was directly proportional to the disaster and fears in the rest of the German citizenship.

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Strongly influenced by the adventure novels of the Swiss Gustav Renker, who seemed to be possessed by the eternal conflict between the man and the nature, under the perspective of domain and constant struggle. The situation photography was achieved on the snow-covered slopes of 12.000 foot high Piz Palü in the Bernina Alps of Switzerland.

The undeniable artistic and financial triumph and universal acclamation was instantaneous, specially in a historic transition where the account seemed to be absolutely absent from all the imaginable stages; because while Brecht and Kurt Weil appealed to the cynicism and decadence state; Shostakovich and Prokoviev depicted the somber nightmare around the fist iron man and Picasso gave us his Guernica; the staunch Surrealism and Dadaism Cerberus such Chirico, Dali, Ernst and the Ample Depression in North America are evident and well-known evidences the world certainly was not the best of the possible worlds.

Buy,Download, Or Stream The White Hell of Pitz Palu! Click Here

It is easily evident the underground voltage tension and anticipation premonitory for the cloudy times to near through the avalanches, precipices and high risks to climb and conquer: As you may realize the metaphor could not be more clear.

Go for this flawless film.

This slack German restful is very mighty an action and mountain-climbing inconvenience film, of which genre “The Holy Mountain” is probably the best remembered, and in comparison “The White Hell of Pitz Palu” probably falls short in a few areas. Firstly, there is not mighty of a yarn or region as it revolves around three main characters who have a climbing accident, accumulate stuck and inevitably need to be rescued. Without a doubt the action and grief scenes (climbing walls of ice, falls and avalanches) are expertly done, and the cinematography is cessation to breathtaking. In fact, watching many of the scenes - gorgeous melting and dripping icicles, sullen clouds, glistening walls of ice and simply the rugged snow-capped mountains made me wish it could be in colour in order to be absolutely perfect. From a visual viewpoint, “The White Hell of Pitz Palu” can’t be flawed, and I’m definite that anyone keen in mountaineering (or even photography of such mountains) will come by this film lively and provocative. But I’m not a mountain nor snow and ice person, and I usually bewitch a safe, more complex memoir and tantalizing characters, and for such viewers this film might feel rather plain and too great of the same thing. Although the orchestral musical fetch is novel and helpful to the scenes, it might not be to everyone’s taste and I found it rather heavy at times - but perhaps that was the procedure after all, since ominous tall mountains do invent that kind of mood! Nevertheless, I can recognize plenty of merit in other aspects of this film such as the impressive visual, photographic qualities (the recount quality is very estimable, by the blueprint) and also a notice into the lives of the characters such as Dr Krafft who lost his wife in an earlier mountain climbing adventure, and who thereafter `haunted’ the mountain, roaming around alone - until he meets a young honeymoon couple who change everything for him. The emphasis and focus in this film are not on the yarn or people, but rather on the physical mountain itself and above all, the forces of nature: wind, ice, storms and mere mortals staying alive in the ruthless elements. For more narrative and character angles with the same star (Leni Riefenstahl) and also directed by Arnold Franck, “The Holy Mountain” might serene be the best of this `mountain film’ genre for the general viewer.

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