Director Philipp Stölzl’s “North Face” is based from a 1936 true story of an expedition up the Eiger Mountain in Switzerland. Back in the early 1920s and ‘30s, one of the most popular genres in German cinema was “mountaineering films”. However due to issues in propaganda, they were discredited immediately. With a new era, Stölzl’s revives the genre using visually compelling technology to tell the dramatic 1930’s set tale of climber Toni Kurz and colleagues up the dangerous north face.
Viewers of the similar film, “Touching the Void” will be drawn to “North Face” survival theme, spectacular shots, and a touching love story set on the historic Nazi reign.
Back in the era of 1930s, the North Face was considered the “last great problem of the Alps”. Discovering a path up the area was seen by most as a patriotic duty. Adding up to the hype, an Olympic Gold Medal was at stake for climbers who can brave it to the top. Heeding the call are ace mountain climbers Toni Kurz (Benno Fürmann) and Andi Hinterstoisser (Florian Lukas) who had set out in 1936 with a goal to climb the notorious North Face of Eiger. Hot on their trails are Austrian climbers Willy Angerer (Simon Schwarz) and Edi Rainer (Georg Friedrich).
Meanwhile down at the foot of the Eiger, Kurz and Hinterstoisser’s childhood friend Luise (Johanna Wokalek) arrive with her boss, Nazi loyalist Herr Arau (Ulrich Tukur) to cover the event as journalists. During a chance meeting at the foot of the Eiger with Kurz, Luise’s long-held feelings are revived. Things turn complicated however as Arau seems interested with her affections as well.
The crew of “North Face” and director Stölzl deserve high praises for not only taking to heart the authenticity of the period but by also making sure to keep every small detail in mind. Aside from taking viewers to a travel back in time with the excellently chosen period clothes and equipment, the Eiger itself is brought as close to them as possible. Audience would get the exact feeling of the climbers as they view amazingly realistic scenes of precipitous cliffs, howling winds, and death-defying depths with absolute clarity. It’s easy to empathize with the characters as viewers feel the tension of the atmosphere and the fear themselves simply by seeing the views.
Footage of the climb builds up so much tension, it’s may almost be unbearable to watch for some. Stölzl’s knows exactly how to thrill, excite, and scare the audience as he depicts the climbing in heart-stopping details. The footage on-location was emphasized and brought more to life by the special effects crew. Watching it feels like learning mountain climbing 101 through exact demonstrations.
Adding up to the realistic feel of the film are actors Fürmann and Lukas who have obviously taken their roles to heart. Not only do they look the part physically but they also imbibe the spirit of a true mountain climber. The team-up of the two works brilliantly on-screen as the friendship between the characters and the actors themselves are genuinely felt throughout. Wokalek also stands up to the occasion as well as Tukur, though playing a Nazi is oddly likeable.
The emotional aspects of the film were clearly drawn out and pondered upon by both Stölzl and his screenwriters. By doing a few alterations in the historical record and using Stölzl’s vast background and expertise in operas, “North Face” came out as a touching and inspiring drama many people would surely feel for.
As a director, Stölzl’s prowess and skills are exhibited perfectly in this film. This may be his greatest work to date as it shows how great a director, motivator, and visionary he is. In his mind, he makes sure to let the audience not only see but feel for themselves what the actors are going through. He captures their raw emotions clearly and creates several vibes such as tension, awkwardness, and happiness they way they really happen in real life. Helping him out with the film’s strongest point, cinematography, is Kolja Brandt.
“North Face” has only good remarks on my book. It’s a definite masterpiece, a must-see work of art.
