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Berliinissä

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Falling in love again

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Kansallissosialismi Saksassa

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Arthur Pryor's Band

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1900s Music (1903) - Arthur Pryor's Band -Nightingale & The Blackbird @Pax41

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Saksan keisarikunnan pääkaupunki, lähes 2 miljoonaa asukasta.

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Der heilige Berg (Arnold Fanck)

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Der heilige Berg [The Holy Mountain] (Arnold Fanck, 1926)

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Ensimmäinen elokuva

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Ensimmäinen onnistunut lento lentokoneella

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Suhteelli-suusteoria

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Pensilliini

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Sudan

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Leni 100 vuotta

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Ensimmäinen Scifi -elokuva

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A Trip to the Moon - the 1902 Science Fiction Film by Georges Méliès

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Tekoälyn teoreettinen malli

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Bunny Berigan & His Orchestra - I Can't Get Started (1937)

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Robotiikan lait

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Isaac Asimov: The Three Laws of Robotics

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Ensimmäinen ihminen kuussa.

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Berliini

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Berliinin muurin murtuminen

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Kokonaistaideteos

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S.O.S. Eisberg (aka S.O.S. Iceberg and Iceland) is a 1933 German-US pre-Code drama film directed by Arnold Fanck and starring Gustav Diessl, Leni Riefenstahl, Sepp Rist, Gibson Gowland, Rod La Rocque, and Ernst Udet. The film was written by Tom Reed based on a story by Arnold Fanck and Friedrich Wolf. S.O.S. Eisberg follows the account of the real-life Alfred Lothar Wegener polar expedition of 1929-30. Two members of the ill-fated Wegener expedition served as technical consultants to Universal.

Among the stars in S.O.S. Eisberg were Leni Riefenstahl, who had just made her directorial debut in The Blue Light (1932). Riefenstahl, in her last film as an actress, co-starred with Gustav Diessl and Ernst Udet in the German version S.O.S. Eisberg, and with Gibson Gowland and Rod La Rocque in the English version, S.O.S. Iceberg. Ernst Udet, a former German ace in the First World War, in a cameo performance, flew in both versions.

At a banquet at the International Society for Arctic Research, the members toast scientist Dr. Carl Lorenz ( Gustav Diessl), about to recreate famed explorer Wegener's ill-fated expedition. Lawrence's team consists of two scientists, Dr. Johannes Brand ( Sepp Rist) and Dr. Jan Matushek ( Max Holzboer), his friend, Fritz Kuemmel ( Walter Riml), their financial backer, John Dragan ( Walter Riml), and their pilot to the Arctic, Lorenz's wife Hella ( Leni Riefenstahl).

After Hella drops them at their base camp, the men begin their long trek to recover Wegener's records and prove his theories on ice floes. As the weeks pass, Brand and the others fear they will not survive when the ice breaks up, but Lorenz scoffs and refuses to wait until winter.

Early one morning, Lorenz sets out on his own. His companions fear he is lost. They find a hut Wegener occupied and a note from Lorenz saying that he is trying to reach an native village. Suddenly, the break up of the ice leaves their sleds of food supplies tumbling into a ravine. The rescuers take refuge on a huge iceberg where they discover that Lorenz is there, dazed and uncommunicative.

Brand begins sending out an S.O.S. on his wireless and Hella immediately leaves to search for her husband. Disaster strikes, with Dragan going mad, and as Kümmel fights with him to prevent their dog, Nakinak, from being killed, Kümmel falls to his death.

When Hella finds the survivors, she misjudges her landing and crashes but is able to swim to the iceberg. Brand seeing they are drifting out to sea, dives into the water, and is picked up by another pilot ( Ernst Udet) following Hella's flight path. The pilot flies Brand to the nearby Eskimo village.

Matushek sees two polar bears fighting over a seal but is killed when he tries to spear the bears. Dragan then attacks Hella, but by then her husband has come to his senses, and she is saved. The iceberg begins to come apart, throwing Dragan into the sea.

Lorenz, Hella and Nakinak are rescued by the Eskimos. The three survivors later are aboard a ship bound for home, but Lorenz is haunted by the deaths incurred in his misguided expedition.

Under the working title Iceland, S.O.S. Eisberg was filmed on location in Umanak, on the west coast of Greenland, in Iceland, and in the Bernina Alps, on the border between Italy and Switzerland. Prior to principal photography, pre-production development and location shooting took a year. The film's opening credits stated that it was produced "under the auspices of the Danish government and under the protectorate of the renowned polar explorer Knud Rasmussen.

A total of 38 men and women, three polar bears and two sea lions of the Hagenbeck circus making up the crew of the S.O.S. Eisberg boarded the Borodino at the end of June 1932. Filming was especially arduous with "Leni Riefenstahl, whose life he (Fanck) had often put in danger", after her repeated swimming in frigid waters, had to leave the production, "before the others, to be hospitalized in Copenhagen".

Modern sources have identified real dangers that occurred in the filming of S.O.S. Eisberg: "... none of the film's actors had doubles" and actors including Riefenstahl endured extreme cold and performed dangerous stunts. "... Udet nearly lost his life when his plane's engine lost power and crashed at the base of an iceberg. Udet was rescued by Eskimos, but minutes later, the iceberg which was supporting some of the crew crumbled to bits, casting men and equipment into the water below. The production unit ship anchored nearby was so shaken by the event that it nearly capsized, throwing people on board the deck into the water. All were rescued, but considerable sound equipment was destroyed."

Although "conceived and started by Germans", S.O.S. Eisberg was "turned over to Universal when the originators were unable to carry it through." Universal Studios made the decision to film simultaneously in German and English. Released by Universal Studios in both countries, with the German edition slightly longer with 10 additional minutes, the English version was retitled, S.O.S. Iceberg and released in the United States.

The highlights of the action included air crashes; the aircraft in S.O.S. Eisberg were:

Aviation film historian James H. Farmer in Celluloid Wings: The Impact of Movies on Aviation (1984) noted, "... some outstanding, though brief aerial sequences are featured."

S.O.S. Eisberg premiered on 30 August 1933 in Berlin. The film was a box office disappointment for Universal.

in their contemporary review of S.O.S. Iceberg noted, "The result is an authentic and authoritative series of polar pictures which scarcely need the pressbook assurance that no miniatures were used to supplement the straight shots."

Bibliography

Fanck, Arnold. S.O.S. Eisberg. Mit Dr. Fanck u. Ernst Udet in Groenland. Die Groenland-Expedition des Universal-Films S.O.S. Eisberg. München: F. BruckmannAG, 1933. OCLC 219890420.

Farmer, James H. Celluloid Wings: The Impact of Movies on Aviation. Blue Ridge Summit, Pennsylvania: Tab Books Inc., 1984. ISBN 978-0-83062-374-7.

Paris, Michael. From the Wright Brothers to Top Gun: Aviation, Nationalism, and Popular Cinema. Manchester, UK: Manchester University Press, 1995. ISBN 978-0-7190-4074-0.

Pendo, Stephen. Aviation in the Cinema. Lanham, Maryland: Scarecrow Press, 1985. ISBN 978-0-81081-746-3.

Riefenstahl, Leni. Leni Riefenstahl: A Memoir. New York: Picador, 1995. ISBN 978-0-31211-926-3.

Riefenstahl, Leni. Kampf in Schee und Eis. Leipzig: Hesse und Bacher Verlag, 1933.

Sorge, Ernst. With Plane, Boat, and Camera in Greenland: An Account of the Universal Dr. Fanck Greenland expedition. London: Hurst & Blackett, Ltd., 1935.

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S.O.S. Eisberg (aka S.O.S. Iceberg and Iceland ) is a 1933 German-US pre-Code drama film directed by Arnold Fanck and starring Gustav Diessl, Leni Riefenstahl, Sepp Rist, Gibson Gowland, Rod La Rocque, and Ernst Udet. The film was written by Tom Reed based on a story by Arnold Fanck and Friedrich Wolf.

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Ensimmäinen oma ohjaus.

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The Blue Light ( German: Das blaue Licht) is a black-and-white 1932 film written and directed by Leni Riefenstahl and Béla Balázs, with uncredited scripting by Carl Mayer. In Riefenstahl's film version, the witch, Junta, played by Riefenstahl, is intended to be a sympathetic character. Filming took place in the Brenta Dolomites, in Ticino, Switzerland, and Sarntal, South Tirol.

The Blue Light is a frame story with a fairy tale atmosphere and elements. A modern couple arrive in a convertible automobile at an inn in Santa Maria, a mountain village. Upon seeing an intriguing, cameo-style photo of a woman, they ask the innkeeper who she is. The innkeeper tells a young boy to bring in the book that contains "Junta's story," and the movie unfolds as the innkeeper opens a very large book to its title page.

Junta (Riefenstahl) is a young woman who lives, at the turn of the century, apart from her fellow villagers. Due to her feral strangeness, she is considered to be a witch. When she comes to town for one reason or another, the townsfolk chase her away. They feel that she must in some way be responsible for the ongoing deaths of the young men of the village. This is because Junta is able to climb the local mountain unscathed, while these young men continue to fall to their deaths attempting to climb it under supernatural circumstances.

Junta lives largely in solitude (except for the company of Guzzi, a young shepherd boy) in the tranquility of the mountains surrounding the village. She plays in the hills and woodlands, as a naive, free spirit. She is simple and innocent, but also seems something of a mystic. She loves to clamber over the steep, difficult terrain of the local mountains.

On full moon nights, a crack in a prominent local mountain admits the moon's light and illuminates a grotto filled with beautiful crystals. This place of indescribable beauty, radiating the film's titular "blaue Licht" (blue light), is a sacred space for Junta. The crystals' luminous glow casts a spell on the village's young men, who, one by one, in a state of hypnotic attraction, attempt and fail to reach its source, falling to their deaths.

Vigo, a painter from the city, travels to Santa Maria in a horse-drawn coach. Upon seeing Junta being harassed in the village square, he falls in love with her. Later, after saving her from the villagers after another young man's death, Vigo follows Junta to the cabin she shares with Guzzi, and decides to stay. Vigo speaks only German, and Junta only Italian, so their communication is limited. All is pleasant, good and very chaste until the next full moon night, when Vigo sees Junta climbing the mountain. He himself, mesmerized by the blue light, follows her, actually reaching the grotto, where he finds her in a state of ecstasy among the crystals.

Thinking he will help Junta by providing her with material wealth, and perceiving the lode of crystals to be a potential source of wealth for both her and the villagers, Vigo immediately rushes down to inform the townsfolk, also telling them how to safely reach the grotto. Junta does not realize that he is doing this until the next day, when she finds some of her crystals on the path to the village, along with some dropped tools. Rushing up to the grotto, she finds it completely barren of crystals: all have been taken by the greedy villagers. Meanwhile, the villagers and Vigo are celebrating. Junta is totally devastated at this violation of the sacred grotto and of her trust in the outsider, and falls to her death. Vigo finds her among the montane flowers (the mountain cornflower, or bluets), and grieves.

The film then closes, returning to the opening, modern-day scene, with a shot of what is presumably the last page of the book, in which Junta is exonerated and her memory celebrated.

In the 1993 documentary The Wonderful Horrible Life of Leni Riefenstahl (1993), Riefenstahl relates that the Agfa Film Corporation gave her a new film stock called R-Stock. When filming was done through a red filter the sky would appear absolutely black. The film was among the first sound films to be filmed entirely on location.

Arnold Fanck, who had directed several mountain films featuring Riefenstahl, did a first edit of the film, which Riefenstahl found unacceptable, and she completely re-edited the film.

The film was a moderate commercial and critical success. It performed well in much of Europe and the UK, although some critics were divided, particularly in Germany. Several left wing news publications derided the effort, while it was applauded by the right wing press. The film enjoyed considerable commercial and critical success in London and Paris, where Alpine cinema was a novelty. It was screened in competition at the 1932 Venice Film Festival. It was also named one of the year's top five foreign films at the 1934 National Board of Review Awards.

The New York Sun described the film as "one of the most pictorially beautiful films of the year. Leni Riefenstahl - author, director and star - is an expert climber as well as handsome woman."

The New York Herald Tribune praised the "sheer pictorial beauty", the publication also praised Riefenstahl remarking "how flawlessly this girl, who plays the lead and also wrote and directed, accomplished her task."

The New York Times remarked that "a summary of the story gives no adequate idea of the beauty of the action and the remarkable camera work, especially in connection with the light effects."

The film's aesthetic, particularly the depiction of nature, is also said to have caught the attention of Adolf Hitler, and possibly contributed to his later decision to commission Riefenstahl to make propaganda films for him.

In 1937, a re-release of the film removed the names of Mayer, Balázs, and Sokal, since they were Jews.

An edited version of the film was released in 1951, funded by Italian corporations. Riefenstahl edited the film from 86 to 73 minutes, removing the arrival scene of modern urbanites in Santa Maria. The film was marketed with the credit "A Mountain Legend by Leni Riefenstahl". In November 1951, It premiered with a new edit, score and soundtrack in Rome at a gala screening that Riefenstahl described as "dazzling". The film was distributed in German cinemas and had a limited release in Austria under the title The Witch of Santa Maria (Die Hexe von Santa Maria).

A similarly named legend in Germany ( Das blaue Licht) may have lent some inspiration to Riefenstahl's screenplay. In a period of time when a pan-Germanic ethos was sweeping the country, audiences were highly likely to have been familiar with the old legend, and accordingly expected the film to follow it closely. However, the film shares very little with the legend, and even departs from it in an unexpected way, casting Leni Riefenstahl as the beautiful loner, not at all a witch, but wrongly accused of being one.

The original legend, compiled by the Brothers Grimm in 1810, and later popularized by the pre- Hitler nationalists of the 1920s, tells the story of a crippled soldier who is terminated from the service of his king. Released from service, he travels into the woods to seek a cure, and comes upon a witch's house. It is there that he asks her if she is willing to help him. She agrees to cure him but he must first do three things for her. (The third task being nothing less than to descend into a very deep and dry well, and bring back from its depths a magic lamp.)

In that legend, however, the soldier finds a dwarflike creature at the bottom of the well. Apart from the strange lamp he comes upon, which glows in a mysteriously blue light (and which ultimately leads to the witch's ruin), there is very little else to connect Riefenstahl's concept to the German myth that came before her.

Gustav Renker's novel Bergkristall (1930) has many similarities to the plot of Das blaue Licht and may have been used by Balázs and Riefenstahl without attribution.

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The Blue Light ( German: Das blaue Licht ) is a black-and-white 1932 film written and directed by Leni Riefenstahl and Béla Balázs, with uncredited scripting by Carl Mayer. In Riefenstahl's film version, the witch, Junta, played by Riefenstahl, is intended to be a sympathetic character.

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Hans Ertl (21 February 1908 in Munich, Germany - 23 October 2000 in Chiquitania, Bolivia) was a German mountaineer and cinematographer.

In 1939, while preparing to leave to shoot a film in Chile, Hans Ertl was conscripted by the Third Reich to be a "war correspondent." As a cameraman in Nazi Germany, he worked with director Leni Riefenstahl on several of her Nazi propaganda films, including . During World War II, he was among the preferred cameramen accompanying General Rommel, which earned him a reputation as "Rommel's photographer".[citation needed ] During the early part of his career, he invented an underwater camera and a ski-mountable camera, both of which transformed the way films were shot.

In the mid-1950s, after an arrest by the Allies and being banned from working professionally in Germany, Ertl fled to Chile and finally resettled in Bolivia, where he made two feature-length "expedition film"-like documentaries. He embarked on a third but ceased after his tractor crashed through a wooden bridge with two-thirds of the uninsured exposed footage on board. Frustrated, he then decided to become a farmer and retired to La Dolorida, a piece of semi-jungle land in eastern Bolivia, where he was known as "Juan."

Ertl's first wife and mother of his three daughters died from liver cancer in 1958. His favorite daughter was Monika Ertl, with whom Ertl became upset when she decided to join the leftist ELN guerrilla movement in 1969. He refused to allow her to convert part of the farm into a military training ground. When Monika was gunned down by the Bolivian military in retribution for having allegedly helped in the 1971 assassination of Colonel Roberto Quintanilla Pereira, the Bolivian consul in Hamburg, her father was "relieved that she had gone in peace."

He was also an acquaintance of Klaus Barbie and, earlier, supposedly a lover of Riefenstahl. He rarely returned to Germany, where he felt cheated out of an important film award, but days before his death he reportedly asked his daughter Heidi, who lived in Bavaria, to send him a bag of German soil. Ertl died in 2000 and was buried on his farm, which is now a museum. In a 2008 Time article, Ertl's daughter Beatriz denied that her father was a Nazi, saying that he served out of "obligation" and that he "did what he could to survive." His daughter also stated that Riefenstahl was "the love of his life."

Rodrigo Hasbún's second novel, Affections, is loosely based on Ertl's life.

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Hans Ertl (21 February 1908 in Munich, Germany - 23 October 2000 in Chiquitania, Bolivia) was a German mountaineer and cinematographer. In 1939, while preparing to leave to shoot a film in Chile, Hans Ertl was conscripted by the Third Reich to be a "war correspondent."