Blue Light, The (1932)

Blue Light, The (1932)

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“Those crystals — they are a danger for you, and the whole village.”

Synopsis:
A semi-feral woman named Junta (Leni Riefenstahl) who lives high up in a mountain with a young goatherd(Franz Maldacea) is menaced by local townspeople, who believe she is a witch given how many young men lose their lives climbing the mountain to reach the beautiful blue crystals at the top. Will a sympathetic man (Mathias Wieman) be able to save Junta from her doomed fate?

Genres, Themes, Actors, and Directors:

  • Fantasy
  • German Films
  • Witches and Wizards

Review:
Film fanatics may be familiar with this early “mountain film” — written, directed by, and starring Leni Riefenstahl — given clips interspersed throughout the 1993 documentary The Wonderful, Horrible Life of Leni Riefenstahl, which details the infamous Nazi propaganda films Riefenstahl made under Hitler’s regime. This earlier, fairy tale-like film is notable for its lovely aesthetics, with Riefenstahl crafting an impressively other-worldly yet grounded existence through on-location shooting in the Brenta Dolomites of Ticino, Switzerland, and in Sarntal, South Tirol.


The storyline is quite simple, structured as a “frame story” in which Junta’s tale is told after visitors at a local hotel ask about her portrait:

Junta is perceived as a witch given her primitive existence in the mountains — and how many men die trying to reach the treasures she lives nearby — but Junta is actually a sympathetic presence, making the story’s denouement all the more tragic (though perhaps not surprising). This film isn’t must-see, but those who enjoy innovative films by early female directors may be curious to give it a look.

Notable Performances, Qualities, and Moments:

  • Beautiful cinematography and imagery

  • Fine location shooting

Must See?
No; you can skip this one unless you’re curious.

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One thought on “Blue Light, The (1932)”

  1. First viewing. Skip it.

    While the film may be perfect for rock climbers, its entertainment value is negligible. This is a film almost pompous in its lethargy. In part a tale of possession, it opts for a lyricism devoid of tension.

    With a little more ‘effort’, this might have been camp.

    Strangely, Riefenstahl is no actress. She seems to have a grand total of one emotion: a blank surprise that doesn’t vary much in color.

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