Font Size

The principal reason THE HOLY MOUNTAIN (1926) is of interest to us today is thanks to the film’s star, Leni Riefenstahl. I had thought this her first film. I found it wasn’t:     .

Edmund Meisel wrote a score for it. It is a shame that it was not used for this presentation as Meisel really understood what is required from music for motion pictures. His score for THE BATTLESHIP POTEMKIN has a vitality that none of the other scores for that film possess:      . His score for BERLIN, SYMPHONY OF A CITY can be experienced here:  .

The best thing to do with the score on this version of THE HOLY MOUNTAIN is to turn it off and create your own. It fails to deliver again, again and again. Moments that should have had me on the edge of my seat in excitement fell flat. Rifenstahl’s dance at the film’s beginning impressed Adolf Hitler deeply. With the music on this presentation that’s hard to fathom:  , ,

This is an all too common fault with recent scores for silent films. It seems most of the folks who create them have never actually watched a movie.

So powerful was Meisel’s score for POTEMKIN Adolf Hitler had it banned. He did his best to destroy it.

Kino Lorber should seriously consider re-doing this with Meisel’s music.

I have found a recording of Edmund Meisel’s music for THE HOLY MOUNTAIN. I ordered it.

THE HOLY MOUNTAIN is an important film and a very good one. It deserves better.–Reg Hartt 2018–04–15.



« »