{"id":54052,"date":"2021-05-31T16:12:00","date_gmt":"2021-05-31T14:12:00","guid":{"rendered":"https:\/\/alpinemag.com\/chamonix-capitale-du-cinema-de-montagne-dhier-a-aujourdhui\/"},"modified":"2021-06-29T09:24:51","modified_gmt":"2021-06-29T07:24:51","slug":"chamonix-mountain-film-capital-past-and-present","status":"publish","type":"post","link":"https:\/\/alpinemag.com\/chamonix-mountain-film-capital-past-and-present\/","title":{"rendered":"Chamonix, mountain film capital past and present"},"content":{"rendered":"\n\n[et_pb_section fb_built=”1″ _builder_version=”4.4.6″ custom_margin=”||||false|false”][et_pb_row _builder_version=”3.25″ background_size=”initial” background_position=”top_left” background_repeat=”repeat”][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.4.6″ header_font=”|on|||” text_orientation=”center” module_alignment=”center” hover_enabled=”0″ header_font_size_tablet=”” header_font_size_phone=”16px” header_font_size_last_edited=”on|desktop” header_2_font_size_tablet=”” header_2_font_size_phone=”16px” header_2_font_size_last_edited=”on|phone”]

From 9 to 13 June, Chamonix Mont-Blanc hosted its first mountain film festival, and we saw many of you there ! Such a festival was a natural choice for the \u201cworld capital of mountaineering\u201d, which has attracted film-makers for over a century and provided backdrops for films of all types, from documentaries to Hollywood blockbusters. Bernard Germain, author of Dico Vertigo, Dictionnaire de la Montagne au Cin\u00e9ma en 500 Films<\/em>, looks back at Chamonix\u2019s cinematic pedigree.<\/strong><\/h2>\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.4.6″ custom_margin=”||||false|false” custom_padding=”||3px|||”][et_pb_row _builder_version=”3.25″ max_width=”800px” use_custom_width=”on” custom_width_px=”800px”][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.4.6″ text_font_size=”16px” hover_enabled=”0″]

G<\/span>aston Refuffat always aimed high, so it is no surprise that he should ask Robert Redford, one of the 1980s\u2019 biggest film stars, to play Jacques Balmat in a fictionalised account of Balmat and Paccard\u2019s first ascent of Mont Blanc. Gaston saw the film as a sort of western, a tale of merciless rivalry between Geneva intellectuals, English aristocrats and Chamonix folk. It would end with Balmat heading into the mountains once more, this time in search of a seam of gold, never to return. Redford had agreed in principle, but it remained to be seen whether the American production\u2019s insurers would cover the star on the slopes of Mont Blanc. This is an constant issue for risk-averse producers, who worry about raging torrents landing them in the soup or mountain storms burning their fingers. Show them a script that requires filming at altitude and they immediately start staring at their shoes.<\/span><\/p>\n

Mountains are scary places and filming at altitude terrifies filmmakers. How many days will be lost to bad weather ? How much will have to be spent on safety ? Where will the stars stay ? What about clothing, food ? What about reviewing rushes or the difficulty of reshooting scenes with light that changes constantly as the sun peeks in and out between the summits ?<\/span><\/p>\n

But even though capturing the magic of the mountains is a nightmare for producers, Chamonix, its valley and Mont Blanc have provided backdrops for dozens of films. So who were the eccentrics, the oddballs, the fanatics who put Chamonix on the film-maker\u2019s map ?<\/span><\/p>\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”2_5,3_5″ use_custom_gutter=”on” gutter_width=”2″ _builder_version=”4.4.6″ width=”100%” max_width=”1200px” use_custom_width=”on” custom_width_px=”800px”][et_pb_column type=”2_5″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_image src=”https:\/\/alpinemag.fr\/wp-content\/uploads\/2021\/05\/MaxLinder1914.jpg” title_text=”MaxLinder1914″ show_in_lightbox=”on” show_bottom_space=”off” align=”center” force_fullwidth=”on” _builder_version=”4.4.6″][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_5″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_image src=”https:\/\/alpinemag.fr\/wp-content\/uploads\/2021\/05\/Maxetsabellemere.jpg” title_text=”Maxetsabellemere” show_in_lightbox=”on” show_bottom_space=”off” align=”center” _builder_version=”4.4.6″ width=”100%”][\/et_pb_image][et_pb_text _builder_version=”4.4.6″ text_font=”Merriweather|900|||||||” text_font_size=”16″ custom_margin=”||||false|false” hover_enabled=”0″ border_style=”solid” saved_tabs=”all”]

The Chaplin-esque Max Linder (left) was the first director to shoot in Chamonix, in 1910<\/p>\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.4.6″ max_width=”800px” custom_margin=”||||false|false” custom_padding=”0|0px||0px|false|false” use_custom_width=”on” custom_width_px=”800″][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.4.6″ text_font_size=”16px” hover_enabled=”0″]

Chamonix owes its cinematographic debut to the brilliant comic actor, improvisor and director Max Linder, who first breezed into the Majestic Hotel during the winter of 1910. He was there to shoot (using two cameras \u2013 a novelty at the time) two short comedies whose snowy antics would inspire Chaplin when he made The<\/em> Gold Rush<\/em>. Linder\u2019s joyously playful portrayal of skiing, sledging and skating in Max and His Mother-In-Law<\/em>, the story of a honeymoon \u201c\u00e0 trois\u201d with a very unwelcome mother-in-law, turned Chamonix, overnight, into a fashionable destination for Parisian society.<\/span><\/p>\n

World War 1 had been over for less than two years when another eccentric team arrived in the valley. Abel Gance and his assistant, Blaise Cendrars, were two bulldozers, literally as well as figuratively : no sooner had they set up at the Col de Voza than they tore down the old tram station and uprooted all the pylons\u2026 cleansing the landscape to create a more pristine image. To shoot The Wheel<\/em>, a railway melodrama that took its protagonists from Nice to the Mont Blanc tramway, the team climbed as high as the Petit Plateau, below the \u201cRoof of Europe\u201d, braved avalanches and hid from storms in the Grands Mulets Hut. Gance\u2019s initial cut of The Wheel<\/em>, released in 1922, ran for 9 hours, a true marathon! Blinkered critics praised it to the skies; free thinkers (including Robert Desnos) hated it. A restored version was edited down to 4 hours 22 minutes, elevated by Arthur Honegger\u2019s original score.<\/span><\/p>\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.4.6″ custom_margin=”-36px||||false|false” custom_margin_tablet=”” custom_margin_phone=”” custom_margin_last_edited=”on|desktop” custom_padding=”0px||||false|false”][et_pb_row _builder_version=”3.27.4″ max_width=”800px” custom_margin=”50px|||” custom_padding=”0|0px|22.796875px|0px|false|false” use_custom_width=”on” custom_width_px=”800″][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.4.6″ text_font_size=”16px” hover_enabled=”0″]

Fast forward ten years, to 1930, and Chamonix becomes the stage for \u201cBergfilm\u2019s\u201d guiding lights, led by Arnold Fanck, with Luis Trenker as acolyte, and Leni Riefensthal as muse. The intrepid Leni played a champion skier and mountaineer who was trying to save a handsome meteorologist, freezing to death in the Vallot Hut. For Storm Over Mont Blanc<\/em>, she made several climbs to the Vallot Hut, each time braving the crevasses surrounding the Grands Mulets. Most importantly, the long weeks of shooting taught her how to make documentaries; skills she would later use to serve the Nazis\u2019 ignominious ideology, producing powerful propaganda films for Hitler and Goebbels (Triumph of the Will<\/em>, Olympia<\/em>). Through the crew\u2019s physical and mental commitment, the film\u2019s thrilling rescue scenes – by plane, on skis, on foot – \u00adand its captivating use of cross-cutting, Storm Over Mont Blanc<\/em> pioneered the search for the spectacular, now achieved, often vacuously and boringly, using drones.<\/span><\/p>\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.4.6″][et_pb_column type=”4_4″ _builder_version=”4.4.6″][et_pb_testimonial quote_icon_color=”#000000″ quote_icon_background_color=”#ffffff” _builder_version=”4.4.6″ body_font=”Oswald|700||on|||||” body_text_align=”center” body_text_color=”#000000″ body_font_size=”30″ use_background_color=”off” custom_margin=”||||false|false” hover_enabled=”0″ saved_tabs=”all”]

Daquin<\/span><\/strong> shot Premier de Cord\u00e9e<\/em><\/strong> in 1943 with a strong team from Paris and Chamonix, one of whose motivations was to avoid being sent to Germany as forced labour<\/strong><\/span><\/p>\n[\/et_pb_testimonial][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”2_5,3_5″ use_custom_gutter=”on” gutter_width=”2″ _builder_version=”4.4.6″ width=”100%” max_width=”1200px” use_custom_width=”on” custom_width_px=”800px”][et_pb_column type=”2_5″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_image src=”https:\/\/alpinemag.fr\/wp-content\/uploads\/2021\/05\/PremierDeCordeeAffiche.jpg” title_text=”PremierDeCordeeAffiche” show_in_lightbox=”on” show_bottom_space=”off” align=”center” force_fullwidth=”on” _builder_version=”4.4.6″][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_5″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_image src=”https:\/\/alpinemag.fr\/wp-content\/uploads\/2021\/05\/PremierdecordeeScene.jpg” title_text=”PremierdecordeeScene” show_in_lightbox=”on” show_bottom_space=”off” align=”center” _builder_version=”4.4.6″ width=”100%”][\/et_pb_image][et_pb_text _builder_version=”4.4.6″ text_font=”Merriweather|900|||||||” text_font_size=”16″ custom_margin=”||||false|false” hover_enabled=”0″ border_style=”solid” saved_tabs=”all”]

Louis Daquin\u2019s original Premier de Cord\u00e9e<\/em>, released in 1944, was remade for television in 1998 by Pierre-Antoine Hiroz and Edouard Niermans<\/p>\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”3.27.4″ max_width=”800px” custom_margin=”50px|||” custom_padding=”0|0px|22.796875px|0px|false|false” use_custom_width=”on” custom_width_px=”800″][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.4.6″ text_font_size=”16px” hover_enabled=”0″]

Just prior to and during World War 2, Chamonix was the scene of several more-run-of-the-mill French films, including Christian-Jaque\u2019s They Met On Skis<\/em> and The Killing of Santa Claus<\/em>, Christian Chamborant\u2019s Patrouille Blanche <\/em>and Louis Daquin\u2019s adaptation of Frison Roche\u2019s best-seller Premier de Cord\u00e9e<\/em> (published in English as First on the Rope<\/em>). Daquin shot Premier de Cord\u00e9e<\/em> in 1943 with a strong team from Paris and Chamonix, one of whose motivations was to avoid being sent to Germany as forced labour.<\/span><\/p>\n

By the end of the war, producers had come to see Chamonix and the Mont Blanc Range as the most attractive and most reassuring venue for making mountain films. Production companies now knew that Chamonix offered several high quality hotels (the Majestic had become legendary), mountain huts that were almost comfortable, permanent rescue and helicopter services, and a large number of professionals (mountain guides, cameramen, sound recordists, etc.) who were used to working in dangerous places and ready to act as stand ins or extras.<\/span><\/p>\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ use_custom_gutter=”on” gutter_width=”2″ _builder_version=”4.4.6″ max_width=”1200px” use_custom_width=”on” custom_width_px=”800px”][et_pb_column type=”1_2″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_image src=”https:\/\/alpinemag.fr\/wp-content\/uploads\/2021\/05\/LeMondeNeSuffitPas007.jpg” title_text=”LeMondeNeSuffitPas007″ show_in_lightbox=”on” show_bottom_space=”off” align=”center” _builder_version=”4.4.6″ width=”100%”][\/et_pb_image][et_pb_text _builder_version=”4.4.6″ text_font=”Merriweather|900|||||||” text_font_size=”16″ custom_margin=”||||false|false” hover_enabled=”0″ border_style=”solid” saved_tabs=”all”]

A hero, one (or two) women and Mont-Blanc : the winning combination, past and present<\/p>\n[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_image src=”https:\/\/alpinemag.fr\/wp-content\/uploads\/2021\/05\/TroisiemeHommeSurLaMontagne.jpg” title_text=”TroisiemeHommeSurLaMontagne” show_in_lightbox=”on” show_bottom_space=”off” align=”center” _builder_version=”4.4.6″ width=”100%”][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”3.27.4″ max_width=”800px” custom_margin=”50px|||” custom_padding=”0|0px|22.796875px|0px|false|false” use_custom_width=”on” custom_width_px=”800″][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.4.6″ text_font_size=”16px” hover_enabled=”0″]

The List<\/span><\/strong><\/h2>\n

Chamonix\u2019s pool of highly skilled technicians has grown continuously over the years (from the Tairraz dynasty to Ren\u00e9 Vernadet, from Jean Afanassieff to Gilles Chappaz, from Bernard Prud\u2019homme to Denis Ducroz, from Didier Lafond to Bertrand Delapierre, from Fran\u00e7ois Damilano to Christophe Raylat, Mario Colonel, Thierry Donnard, David Autheman, etc.), as has its stock of talented people capable of acting out even the most far-fetched mountain scenario. Sam Beaugey, an extreme skier, alpinist, BASE jumper and director, and Julien Herry, an extreme snowboarder and actor, immediately come to mind, but they are just two among many : the person you need for a shoot undoubtedly lives in the valley ! These facilities would be nothing without exceptional scenery that corresponds to creators\u2019 needs and visions. In fact, the Mont Blanc range has become all the world\u2019s mountains, standing in for :<\/span><\/p>\n

. The Caucasus, for James Bond, in\u00a0The World Is Not Enough<\/em>,\u00a0by Michael Apted, with Sophie Marceau<\/span><\/p>\n

. The Matterhorn in Third Man on the Mountain<\/em>, by Ken Annakin<\/span><\/p>\n

. The Himalayas in The Man Who Would Be King<\/em>, by John Huston, with Sean Connery, and in Up To His Ears<\/em>, by Philippe de Broca, with Jean-Paul Belmondo and Jean Rochefort<\/span>\u00a0<\/span><\/p>\n

. Everest in The Climb<\/em>, by Ludovic Bernard, with Ahmed Sylla and Alice Bela\u00efdi.<\/span><\/p>\n

But the Mont-Blanc Range also played itself in :<\/span><\/p>\n

. Starlight and Storm<\/em> and Les Horizons Gagn\u00e9s<\/em> by Gaston Rebuffat, filmed by Ren\u00e9 Vernadet<\/span><\/p>\n

. The Mountain<\/em>, by Edward Dmytryck, with Spencer Tracy<\/span><\/p>\n

. Malabar Princess<\/em>, by Gilles Legrand<\/span><\/p>\n

. <\/span>Les Aiguilles Rouges<\/span><\/em>, by Jean-Fran\u00e7ois Davy<\/span><\/p>\n

. La Mort d\u2019un Guide<\/em>, by Jacques Ertaud<\/span><\/p>\n

. Les Etoiles de Midi<\/em>, by Marcel Ichac, with Lionel Terray and Ren\u00e9 Desmaison<\/span><\/p>\n

. Beyond the Summits<\/em>, by R\u00e9my Tezier, with Catherine Destivelle<\/span><\/p>\n

. Christophe<\/em>, by Nicolas Philibert with Christophe Profit<\/span><\/p>\n

. Les Inconnus du Mont-Blanc<\/em>, by Denis Ducroz<\/span><\/p>\n

. La Face de l\u2019Ogre<\/em>, by Bernard Giraudeau<\/span><\/p>\n

. Premier de Cord\u00e9e<\/em>, by Pierre Antoine Hiroz and Edouard Niermans<\/span><\/p>\n

. Second Chance<\/em>, with Catherine Deneuve, and Tout \u00e7a\u2026 pour \u00e7a<\/em>, with Fabrice Luchini, both filmed by Claude Lelouch<\/span><\/p>\n

. Les Marmottes<\/em>, by Elie Chouraqui, with Marie Trintignant<\/span><\/p>\n

. The Crimson Rivers<\/em>, by Mathieu Kassovitz, with Jean Reno and Vincent Cassel<\/span><\/p>\n

. L\u2019Amour est un Crime Parfait<\/em>, by the Larrieu brothers, with Mathieu Amalric<\/span><\/p>\n

. Tout l\u00e0 Haut<\/em>, by Serge Hazanavicius<\/span><\/p>\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ use_custom_gutter=”on” gutter_width=”2″ _builder_version=”4.4.6″ max_width=”1200px” use_custom_width=”on” custom_width_px=”800px”][et_pb_column type=”1_2″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_image src=”https:\/\/alpinemag.fr\/wp-content\/uploads\/2021\/05\/LaMortDunGuide1975.jpg” title_text=”LaMortDunGuide1975″ show_in_lightbox=”on” show_bottom_space=”off” align=”center” _builder_version=”4.4.6″ width=”100%”][\/et_pb_image][et_pb_text _builder_version=”4.4.6″ text_font=”Merriweather|900|||||||” text_font_size=”16″ custom_margin=”||||false|false” hover_enabled=”0″ border_style=”solid” saved_tabs=”all”]

La Mort d\u2019un Guide, in 1975, turned mountain guides into demi-gods for an entire generation of French people<\/p>\n[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_image src=”https:\/\/alpinemag.fr\/wp-content\/uploads\/2021\/05\/RivieresPourpres.jpg” title_text=”RivieresPourpres” show_in_lightbox=”on” show_bottom_space=”off” align=”center” _builder_version=”4.4.6″ width=”100%”][\/et_pb_image][et_pb_text _builder_version=”4.4.6″ text_font=”Merriweather|900|||||||” text_font_size=”16″ custom_margin=”||||false|false” hover_enabled=”0″ border_style=”solid” saved_tabs=”all”]

Mont Blanc (and Oisans) was the obvious choice for Kassovitz when shooting Crimson Rivers<\/em><\/p>\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.4.6″ max_width=”1200px” use_custom_width=”on” custom_width_px=”800px”][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_image src=”https:\/\/alpinemag.fr\/wp-content\/uploads\/2021\/05\/Drus.jpg” title_text=”Drus” show_in_lightbox=”on” show_bottom_space=”off” align=”center” _builder_version=”4.4.6″ width=”100%”][\/et_pb_image][et_pb_text _builder_version=”4.4.6″ text_font=”Merriweather|900|||||||” text_font_size=”16″ custom_margin=”||||false|false” hover_enabled=”0″ border_style=”solid” saved_tabs=”all”]

The Drus, THE mountain of Premier de Cord\u00e9e<\/em>, La Mort d\u2019un Guide<\/em> and La Face de l\u2019Ogre<\/em> (Bernard Giraudeau, 1988) \u00a9Manu Rivaud<\/p>\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.4.6″][et_pb_column type=”4_4″ _builder_version=”4.4.6″][et_pb_testimonial quote_icon_color=”#000000″ quote_icon_background_color=”#ffffff” _builder_version=”4.4.6″ body_font=”Oswald|700||on|||||” body_text_align=”center” body_text_color=”#000000″ body_font_size=”30″ use_background_color=”off” custom_margin=”||||false|false” hover_enabled=”0″ saved_tabs=”all”]

It\u2019s not unusual for a skier to begin a turn in the Vall\u00e9e Blanche and to finish it in the Argenti\u00e8re Basin, or even the Caucasus !<\/p>\n[\/et_pb_testimonial][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”3.27.4″ max_width=”800px” custom_margin=”50px|||” custom_padding=”0|0px|22.796875px|0px|false|false” use_custom_width=”on” custom_width_px=”800″][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.4.6″ text_font_size=”16px” custom_margin=”||53px|||” hover_enabled=”0″]

The list is by no means comprehensive and gets longer every year. Two feature films are currently being shot in Chamonix : Les T\u00eates Givr\u00e9es,<\/em> by St\u00e9phane Cazes, with Clovis Cornillac, and La Montagne,<\/em> by Thomas Salvador, with Louise Bourgoin.<\/span><\/p>\n

For filmgoers who know the Mont Blanc range, it is fun to play spot the difference while watching any of these films, as even the most famous of them are not safe from the editorial fixation with achieving a perfect cut, even at expense of geographical veracity. So, it\u2019s not unusual for a climber\u2019s foothold to be on one side of the valley and the corresponding handhold to be on the opposite side or for a skier to begin a turn in the Vall\u00e9e Blanche and to finish it in the Argenti\u00e8re Basin, or even the Caucasus! And for no-one to notice\u2026 except you. Enjoy the films.<\/span><\/p>\n[\/et_pb_text][et_pb_divider _builder_version=”4.4.6″][\/et_pb_divider][\/et_pb_column][\/et_pb_row][\/et_pb_section]\n\n","protected":false},"excerpt":{"rendered":"

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