Dolomites theory… The Great Leap (1927), Kino Lorber Blu-ray

In which the dynamic trio of the Weimar “mountain film” turn out a comedy that illustrates the main themes of the genre whilst showing the simple glories that made it such a success: the challenges of nature and, indeed, woman.

Now, let’s get this particular woman out of the way from the start along with those easy-to-make philosophical connections to what was about to happen. Leni Riefenstahl is one of the most controversial filmmakers for her documentaries charting Nazi rallies and the 1936 Olympics – major works of propaganda that were hugely important to their cause - but I’ve no idea if she’d even read Mein Kampf when she was acting in this and Arnold Fanck’s other berg films, The Holy Mountain (1926), The White Hell of Pitz Palu (1929) and Storm Over Mount Blanc (1930). At this stage, Hitler was on the edges of Weimar politics having been imprisoned in 1924 for six months after a failed coup, whilst his National Socialist German Workers’ Party (NSDAP) won only 12 seats in the 1928 election (under proportional representation) and were the ninth largest party with the German Communist Party on 54 seats and the SPD (Social Democrats) on 153.

Leni and Adolf certainly were connected in 1932 when she was transfixed by his performance at a rally and he started to see her as the ideal of Germanic femininity after her directorial debut, The Blue Light. At this point, she was far from the “fellow traveller” she later claimed to be and, indeed, even that film was co-written by two men of the Jewish faith, Carl Mayer and Béla Balázs… her compromises, and infatuation, were now to start building up and, post war, there would be half a long lifetime of recriminations and rationalisations.

Leni Riefenstahl

But forget about Leni for a moment, did Arnold Fanck and Luis Trenker’s mountain films specifically connect to a far-right philosophy that was still being defined? Both may well have viewed the purity of mountain life as a cure for the ills of the city but this is surely part of a broader romantic view of nature not just limited to Germany or indeed this period. They were certainly less cooperative with the Nazi’s and, whilst they stayed in Germany, they never accepted any propagandist brief as enthusiastically as their former colleague.

As with all classic film you just need to watch and try to understand in the context of the period in which it was made and here we have a film in which Fanck, Trenker and Riefenstahl make a zany comedy which actually pokes fun at their own berg films including the over-idealisation of the rugged rocky paradise which they had always shown setting urban men free. The filmmaker's gaze is still fixed on the actresses' form and features throughout, promoting her as a physical as well as sexual ideal and yet there is some sending up. Leni’s goatherd Gita, even lives in a fairy tale chalet with her younger sisters and it’s one of the few sequences filmed on set as if to clearly mark its un-reality. The youngsters frolic like mystic nymphs whilst snow – actually goose feathers – falls like so much plastic in a life-sized snow globe.

Leni Riefenstahl and Luis Trenker

Even the mountains are used for fun with Gita climbing up two granite stacks to avoid the attentions of Toni, Trenker playing it for laughs with goofy looks and daft hair. This is still a serious freestyle climb with no safety line and with the actress in bare feet which were cut to shreds as she climbed to the top of both and another to the left, posing, smiling and teasing,  making it all look easy. Riefenstahl had started off as a dancer but injury caused her to look elsewhere and after meeting Trenker she was introduced to Fanck and then turned her fitness and core strength towards the rockface.

Fanck’s films often took long to make and part of the reason for that, as film historian Samm Deighan says in her superbly informative commentary, was that the performers kept on getting injured. It was also down to shooting almost entirely on location and, as in this case, using six cinematographers to capture the audacious stunts and sublime locations 12,000 feet and more up in the Dolomites.

Hans Schneeberger

One of these, Hans Schneeberger, also had to act as Michael Treuherz, the cossetted and conflicted man from the city who takes a break from the rat race to enjoy the great outdoors and finally find himself. In this he is aided by his manservant Paule, played by Paul Graetz, a proper comic actor, who wasted little time in getting out of Germany in 1932, making films in Britain and Hollywood before his untimely death in 1937. A cabaret artist and stage actor who had worked with Max Reinhardt, Graetz delivers the most naturally humorous performance as the cheekily inventive valet who comes up with elaborate ways to help is master win the ski race for Gita’s affections.

The film is split between the opening sequence of comedic climbing and then, after a studio bound set up for the love triangle, the great ski race which is almost an hour long. Michael and Paul arrive as the greenest of tourists and it’s love at first sight for the virginal financier as he encounters Gita with her goats. Michael is a mess of a man who only knows the artificial world of commerce, whereas Gita knows how to handle herself, taking a break from longingly photographed free-swimming in mountain lakes to save him from a water mill.

There’s something of Riefenstahl’s performance that brings to mind Pola Negri in Lubitsch’s comedies, especially Die Bergkatze (The Wildcat or The Mountain Cat) from 1921. There’s the same rough and ready femininity on display and they are clearly dominant over the clueless males; Germanic fantasy women yes, but think of Mabel Normand kicking Charlie Chaplin all over Hollywood in 1914? Gita is clearly superior to the men, a better climber and a good heart, at ease with herself and her surroundings.

In contrast, uptight Michael has no clue how to woo and wastes an evening trying, and failing, to work up the courage to enter his new love’s chalet, watching in unmanly horror as the goofy Toni strolls in to steal his strudel, much to Gita’s disgust. She has to take the lead and decides that if Michael wins the local cross-country ski race, he will also win her heart… however incredibly unlikely that may be.

Paul Graetz and friend

Gita takes care to exclude Toni from the race, luring him into following her around the course along with her favourite goat (uncredited) on skiis… whilst Paul works out a number of devices to help his man win: an inflated suit to add bulk and buoyancy, preventing any falls and even a small propeller to aid is climb. The plot is merely an excuse for Fanck to unleash wave after wave of trick shots as the stunt team defy gravity (and logic) during the course of the race.

It is a visual treat and great fun especially with the addition of Neil Brand’s expertly attuned accompaniment. Neil’s seen those skylines for years of course and whilst he expresses a wealth of scoring experience, he also grounds his themes in both an understanding of contemporary purpose as well as the dynamics required to elevate these “landscapes of transcendent and mystical power”. It’s as much as masterclass as Fanck’s direction and his performers’ climbing and uplifts the action when perhaps a little too long is spent in the snow…

Deighan’s context for the film is that it is an “escapist fairy-tale” made not just at a time of topline political and economic turmoil but of poverty and desperation – let us absolve ordinary Germans from the guilt to come and at least enjoy this film for how it appeared to be to them at the time.

I watched the new Kino Lorber Blu-ray which is available direct from them in North America – I have my sources (thanks Mary in Santa Barbara!) – or through Amazon.com and other international shippers.

Skiers' greeting meaning "Good skiing!"

Mountains of the mind… The Holy Mountain (1926)

Arnold Fanck’s The Holy Mountain (Der Heilige Berg) premiered on 17^th December 1926 and starred dancer-turned-actress, later director, propagandist, wildlife and anthropological documentary film maker, Leni Riefenstahl - one of the most loaded names in cinema history.

Its opening credits announce that all the outdoor shots were filmed on the mountains with the aid of local climbers whilst the film’s ski race was also filmed “live” using experts from Germany, Austria and Norway. It is described as “A Drama Poem with scenes from nature by Dr. Arnold Fanck…” and one which is “Dedicated to his late friend, mountaineer Dr. Hans Rhode with reverence…

Leni Riefenstahl

Clearly a lot of ice flowed under the bridge to make the story but that is as nothing in comparison with the avalanche that followed in the 1930s. Still it's surely all too easy to portray The Holy Mountain as a proto-Nazi film as some appear of have decided. This was made well before Hitler’s coming to power in 1933, when the NSDAP had seemingly peaked with just 14 seats in the Reichstag falling to 12 in 1928. Riefenstahl hadn't yet read Mein Kampf (published in 1925 and 1926 ) and her falling under its author's influence came after seeing him speak in 1932. Triumph of the Will followed in 1934.

There’s a theme of loyalty, self-sacrifice and team work – traits that apply equally as well to the British - but also respect for nature and one’s truth – can the restless “Sea” of Diotima the Dancer (Riefenstahl) ever be matched with the Rock of immovable masculinity that is “The Friend” (Louis Trenker)? The film worships the great outdoors, health and efficiency and as such is an extension of German kulturfilm as evidenced by Riefenstahl’s previous film, Ways to Strength and Beauty (1925).

The themes were part of contemporary cultural currency and whatever Leni and indeed Dr Fanck did later is a whole other story: their time of dark compromise was yet to come.

The Holy Mountain begins with an half hour section introducing the two protagonists and leading up to their eventual meeting and love at first sight. Diotima is seen dancing against the natural backgrounds of sea and sky and Fanck cannot get enough of her movement. 

Dancer on the shore

Riefenstahl was a highly-trained dancer whose professional career had been curtailed through injury forcing her interest in the less-demanding medium of film. Her energetic contemporary dance movement is perfectly attuned to the environments and she matches choreography with radiant smiles and a manic alertness.

We begin to get glimpses of The Ski Master/Karl climbing through the snow and heading towards what looks like the Matterhorn. Trenker has a craggy masculinity to match the mountains; he looks like a pro with snow-tanned skin and sure-footed confidence on slope and tone.

The Ski Master and his climbing partner/student Vigo (Ernst Petersen) go to see Diotima dance and both are entranced. Karl leaves early but Vigo remains and meets the dancer after placing a flower (Edelweiss?) in her car. Virgo is smitten but Diotima is merely charmed… giving him her scarf as a thank you.

Gradually the film moves the dancer and climber together as they work their ways around the mountain until finally meeting with an instant recognition of exactly who the other is. Their relationship is solidified very quickly. Soon they talk of getting married on the most beautiful mountain in the Alps and Karl spends as much time as possible in his search for a natural wonder to fit their human love.

Meeting on the Matterhorn

Meanwhile Diotima supports Vigo in the local Alpine sports cheering him on in a spectacular ski jumping competition – camera’s slowed down in the manner of Riefenstahl’s later work on the 1936 Olympics. He beats his rival Colli (Friedrich Schneider) on the last jump before the two renew their contest with the long distance race.  Here again the “nature photography of Dr Fanck and his Freiburg School is superb. Hans Schneeberger and  Sepp Allgeier were Fanck’s main cameramen for this exciting set piece which featured the aforementioned expert skiers.

Jumping in slow motion and off piste filming

The action is real enough with twists, turns and tumbles galore all ending in a dizzying victory for the young man. Diotima is delighted for him and the two wander drunk on the adrenalin to a small cottage where Vigo asks for a favour in return for his victory. He buries his head on Diotima’s lap in an action more familial than sexual: he is too immature to properly express his sexuality to the older woman and she does not regard him as anything other than a sweet child… and yet; that’s not quite how it looks… Descending from the peak, at just the wrong moment, Karl spots what looks like love-making and falls back out of view instantly shattered.

Later Vigo visits his friend’s mother (Frieda Richard) whom he confesses his love too not knowing that Diotima and his tutor are already planning to marry… or at least they were. Karl arrives and tells him that he must accompany him on the most dangerous climb in the territory: the North Face of Mount Santo. It’s getting dark, the weather is changing and this could be dangerous but he agrees all the same: they are friends with loyalty.

The climb begins

Diotima prepares for her evening performance and is completely unaware that her lover has got the wrong impression or indeed that she may have encouraged Vigo (probably… the Sea does pull up on a lot of different beaches after all…). The men begin their treacherous ascent and the narrative clicks from their struggle to the gradual realisation of friends and lover that they are missing.

Will envy twist Friend’s passion towards brutal revenge or will love triumph over all: friendship, loyalty and indomitable will… It’s Germanic all right but that doesn’t necessarily make it fascistic.

Inevitably the stunning scenery overpowers the performances and sometimes Riefenstahl is more of a dancer than a film actress when faced with the duty of trying to show elevated emotion in the midst of so much natural turmoil. Fanck paces his narrative very well and the closing section is as genuinely tense as the opening section is peacefully pastoral… In the end The Holy Mountain is a poem and not a docu-drama on outdoor pursuits with amazing cinematography worth the price of admission alone.

The original score was from Edmund Meisel but the version I watched featured a modern composition from Aljoscha Zimmermann for the 2002 restoration. It’s available on DVD from Eureka’s Masters of Cinema series from Amazon and includes Ray Müller's three hour documentary The Wonderful, Horrible Life of Leni Riefenstahl - the clue is in the title...