10.54103/2036-461X/17960
The discovery of the Alps in the specific genre of the mountain film was originally a German answer to the Westerns from the USA in the late 1920s. This brought a number of important personalities such as Fanck, Riefenstahl and Trenker onto the German film market, though the genre developed in different ways in other contexts, too. The mountain film Der Sohn der weißen Berge / Les Chevaliers de la Montagne by Trenker and Bonnard was coproduced as a German-French multiple version (MV) in 1930 and represents the beginning of a longer series of ‘multiple’ coproductions by Trenker. During the generalization of sound, MVs are meant to create the ‘same’ film for each country interested in it. In order to make the versions successful in their contexts, each of them is shaped according to early audio-visual techniques and adapting elements such as cast, fictional nationalities, music, dialogues or gestures. This article aims to approach the two MVs from a comparative, transcultural perspective in order to highlight their specificities. The aim is to investigate the transcultural character of the Alps arguing that, due to their semantic openness, the Alps provide an ideal setting for transcultural communication and for the nationalization process essential to the MVs. As a territory at the crossroad of several countries and cultures, the Alpine environment proves through Der Sohn der weißen Berge / Les Chevaliers de la Montagne to be a privileged territory for multiplecinematic cultural transfers that contribute to the establishment of European cinema.
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Cinéma & Cie. Film and Media Studies Journal
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Transculturality of the Alps: The Role of Image and Sound in a European “Multiple Bergfilm” of the 1930s
Text.Serial.Journal
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2022-05-30
2023-09-22
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Cinéma & Cie
Maria Fuchs
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10.54103/2036-461X/17960
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Von Moltke, Johannes. 2002. “Evergreens: The Heimat Genre.” The German Cinema Book, edited by Tim Bergfelder, Erica Carter and Deniz Göktürk, 14–28. London: British Film Institute.
Transculturality of the Alps: The Role of Image and Sound in a European “Multiple Bergfilm” of the 1930s
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23
                                                                                       Transculturality of the Alps:
                                                                                       The Role of Image and Sound in a
                                                                                       European “Multiple Bergfilm” of the
                                                                                       1930s
                                                                                       Maria Adorno, Universities of Köln, Udine and Lyon 2
                                                                                       Maria Fuchs, University of Music and Performing
                                                                                       Arts Vienna


                                                                                       The discovery of the Alps in the specific genre of the mountain film was originally a                Keywords
                                                                                       German answer to the Westerns from the USA in the late 1920s. This brought a number             Mountain films
                                                                                       of important personalities such as Fanck, Riefenstahl and Trenker onto the German
                                                                                       film market, though the genre developed in different ways in other contexts, too. The
                                                                                                                                                                                     Multiple Versions
                                                                                       mountain film Der Sohn der weißen Berge / Les Chevaliers de la Montagne by Trenker                 Luis Trenker
                                                                                       and Bonnard was coproduced as a German-French multiple version (MV) in 1930 and                Transculturality
                                                                                       represents the beginning of a longer series of ‘multiple’ coproductions by Trenker.                        Alps
                                                                                       During the generalization of sound, MVs are meant to create the ‘same’ film for each                       DOI
                                                                                       country interested in it. In order to make the versions successful in their contexts, each
                                                                                                                                                                                     https://doi.org/
This work is licensed under a Creative Commons Attribution 4.0 International License




                                                                                       of them is shaped according to early audio-visual techniques and adapting elements
                                                                                                                                                                                     10.54103/2036-
                                                                                       such as cast, fictional nationalities, music, dialogues or gestures. This article aims
                                                                                       to approach the two MVs from a comparative, transcultural perspective in order to                 461X/17960
                                                                                       highlight their specificities. The aim is to investigate the transcultural character of the
                                                                                       Alps arguing that, due to their semantic openness, the Alps provide an ideal setting for
                                                                                       transcultural communication and for the nationalization process essential to the MVs.
                                                                                       As a territory at the crossroad of several countries and cultures, the Alpine environment
                                                                                       proves through Der Sohn der weißen Berge / Les Chevaliers de la Montagne to be
                                                                                       a privileged territory for multiplecinematic cultural transfers that contribute to the
                                                                                       establishment of European cinema.




                                                                                       INTRODUCTION
                                                                                         The discovery of the Alps in the specific genre of mountain film is generally
                                                                                       considered a German cinematic answer to the U.S. Western in the 1920s (Stern
                                                                                       2001) which famously produced several important protagonists of the German-
                                                                                       language film market, such as Arnold Fanck, Leni Riefenstahl, and Luis Trenker.
                                                                                       As the geographical centre of Western Europe, the Alps are par excellence
                                                                                       charged with various meanings and functions in Western modern imagination.
                                                                                       The numerous historical and natural philosophical conceptualizations of
                                                                                       this landscape bear witness to this. The culturally charged semantics of the
                                                                                       Alps, which have been rediscovered in mountain films since the first hours of
                                                                                       cinematography, range from the imagination of a natural recreational space
                                                                                       (von Haller 2006; Rousseau 1978) to the sublime version of the mountains (Kant


                                                                                       Cinéma & Cie vol. 23 no. 40 2023 · ISSN 2036-461X                                                      141
      1974) to the imagined experimental space of human experience (Felsch 2007).1
      Thus, even in Fanck’s films, nature appears as the dominant actor in the form of
      untouched mountains, terrifying storms, or avalanches, with the camera serving
      as a mediator of the seemingly unmediated, spectacular experience in the Alps.
         Fanck’s mountain films made the Alps accessible to a mass audience at
      the beginning of the 20th century, while the popularization of this ‘unspoiled’
      landscape contributed to its very destruction.2 The media penetration of the
      Alps in early mountain films was finally able to tie in with the audience’s
      direct experience of this landscape, since alpinism had developed into a mass
      phenomenon since the beginning of the 20th century. And just as the popularity
      of alpine sports soared in Europe and North America in the 1920s and 1930s,
      so too would mountain film, as a medium conducive to alpine tourism, become
      a multinational, popular phenomenon very early in the history of European
      cinema. A closer look at the early film history of this genre reveals that mountain
      film productions are by no means limited to the German film market or as the
      German answer to the U.S. Western.
         With the emergence of multiple versions (MVs)3 in the transitional phase
      from silent film to sound film, a viable, transnational as well as transcultural
      cinematic subject was recognized in the multinational projection space as well
      as sporting-real experience world of the Alps, which was to contribute to the
      establishment of European cinema. MVs had emerged in the highly innovative
      phase of sound film generalization in the early 1930s as part of most national
      film industry’s internationalization strategy. Today dubbing seems to be a
      natural practice for exploiting films internationally. But at least until 1933,
      dubbing was far from accepted or widespread, and MVs played a central role
      in film production in the early 1930s. In the European context they were mostly
      coproduced for the French, German, English and Italian film markets, with
      transnationally successful titles such as Der blaue Engel (Josef von Sternberg
      1930, D/E) or Der Kongreß tanzt (Eric Charell 1931, D/F/E) (Garncarz 2013).
         MVs aimed to produce a ‘same’ film for each country interested in the
      production, using different cultural adaptation strategies and techniques
      depending on the case. In order to make the versions successful in their
      respective contexts, each version was designed to adapt elements such as
      cast, fictional nationalities, music, dialogue, and gestures, in a process that
      also incorporated strongly national production aspects such as (trans)cultural
      identifications.4 Each MV thus resulted in a product that could be considered a
      single film or several different ones. In this sense, we tend to stick to the idea
      that there is no truly original version or MV of the same title. Each MV is at
      the same time an independent film as well as interdependent from the other
      versions of the same title.
         In this article we would like to take a closer look at the 1930 German-French
      coproduced MV Der Sohn der weißen Berge/Les Chevaliers de la Montagne5 by
      Luis Trenker and Mario Bonnard. By comparing the two versions we aim to show
      that the Alps as a transcultural carrier of meaning as well as a transnational,
      sportive space of experience also gained an important status in the European



142                                           Adorno, Fuchs, Transculturality of the Alps
cinema of the 1930s through the MVs. Our main argument is that mountain
films were predestined for internationalization, if not Europeanization through
MVs. Indeed, due to their multinational character, the Alps offer the ideal setting
for transcultural communication as well as for the nationalization processes
necessary for MVs. A process which appears to be enclosed in the title of the
two versions already. Their difference in both content and graphic testifies of
the efforts and cultural adaptation processes through which Der Sohn/Les
Chevaliers went [Figg. 1 - 2]. In this sense, the MVs directly contribute to the
progressive internationalization and popularization of Alpine landscapes and
narratives, which corresponded to a longer cultural imagination in Western
cultural history.
   The setting of our case study, Der Sohn/Les Chevalier, is the ski resort of
Zermatt on the Matterhorn, which lies at the border between Swiss and Italian
territory. This is why the alternative title of the film, sometimes used as a subtitle,
is Das Geheimnis von Zermatt. The film takes place during an international ski            Fig. 1
championship. Next to being a sport film, though, it also negotiates a love and           Ending of the first
crime story, with a mountain and ski guide as the main character, interpreted             sequence of SwB (links)
                                                                                          and CdM (right).
by Luis Trenker and named Turri in Der Sohn and Charlier in Les Chevaliers.
                                                                                          Fig. 2
When Turri/Charlier meets a young Parisian woman, Mary, he too gets                       Beginning of SwB
into troubles and ends up being suspected of murder. But the film’s hero is               and CdM.




Cinéma & Cie vol. 23 no. 40 2023 · ISSN 2036-461X                                                            143
      determined to uncover the trap he had fallen into and help his teammates win
      the championship…
         Although this film by Trenker and Bonnard is an important case study both
      for the early audiovisual translation strategy of MVs and for the transcultural
      significance of the Alps for a rapprochement of European cinema in the 1930s, a
      scholarly examination (as well as other MVs of this genre) has been lacking to
      date. In order to highlight the (trans)cultural specificities of this French-German
      coproduction, we will analyse the visual, textual and musical levels separately
      and comparatively. As we will show, on the one hand, the interpretation of the
      joint script cannot be separated from the national and cultural contexts in which
      the films were seen; on the other hand, the alpine environment proves to be a
      privileged territory for a multifaceted cinematic cultural transfer.
         MVs have so far been studied mainly in terms of the linguistic aspects and
      the visual components of the films. However, our case study allows us to pay
      special attention to the soundtrack in the different film versions, which in MVs
      constitutes a particularly important element in (trans)cultural translation.6
      Thanks to the availability of both copies of the French and German versions
      of Trenker and Bonnard in the Mountain Museum of Turin, our comparative
      audiovisual analysis is possible, which is a rare case in the history of MVs.7
         In addition to a French and German film version, an Italian edition of the
      film circulated, with the French version as its visual basis. At that time, the
      Italian film industry was probably still too young to compete in the market and
      could probably not afford a national MV. Since we could not find the Italian film
      version, we include it only marginally in our comparative analysis on the basis
      of a few archival materials we could find about it.
         Before we compare the visual, textual, and musical aspects of the two
      film versions to better highlight their variations and implications, we briefly
      contextualize mountain films and specifically Der Sohn/Les Chevaliers in
      relation to the MVs.



      MOUNTAIN FILMS AND DER SOHN DER
      WEISSEN BERGE/LES CHEVALIERS DE
      LA MONTAGNE IN RELATION TO MVS
         Mountain films set in different mountainous regions of the world have existed
      since the dawn of cinema. The publication Cinema delle Montagne of the
      Mountain Museum in Turin, which lists nearly 4,000 feature films in the history
      of mountain cinema, largely testifies to the history of this genre (Audisio 2004;
      Mantovani 2020). Generally acknowledged as the first preserved mountain
      film to feature the Alps as its setting, Cervino is an Italian film production from
      1902, which in six minutes deals with the ascent of three mountaineers and a
      cameraman to the top of the Matterhorn.
         The process of ‘gentrification’, by which Rick Altman (1999) refers to the



144                                           Adorno, Fuchs, Transculturality of the Alps
procedural and dynamic nature of a film genre, seemed to have arguably
contributed to asynchronous developments of the mountain film genre in the
respective countries. While Der Sohn had long been recognized and marketed
as a mountain film in Germany in 1930, Les Chevaliers, on the other hand, faced
a different genre development in France, where the film was promoted as a
sport film in view of the skiing subject. Its reception as a sports film emerges, for
example, in Le Cinéopse on the occasion of the film's premiere (“Chez Vandal”,
1930).
   The early mountain films of German production, which emerged from the
genre of documentary sports and nature films of the 1910s and 1920s, are
closely associated in with the geologist and photographer Arnold Fanck and
the so-called Freiburg Camera School. Mountain films of that period of German
film production has also been the most thoroughly studied to date, which may
be related in part to its reception by well-known film critics and theorists (such
as Siegfried Kracauer). For many decades, mountain films were characterized
as a manifestation of a reactionary anti-modernism, ‘similar to the back-to-the-
land philosophy and health cults that characterized interwar Germany in the
run-up to Hitler’s takeover’ (Bush 2019, 2).8 As Alex Bush correctly recognized,
Kracauer’s reading of the German mountains films of that historical period was
not only politically motivated, but tied to a long tradition in German visual culture
that understood the Alps as an ‘absolute ‘unhistorical’ landscape’(Bush 2019, 2;
Simmel 1919, 138) and created a canon beginning with the romantic paintings
of Caspar David Friedrich. It was not until later readings that the ‘romantic
rhetoric of the Alps’ (von Moltke 2002) in German mountain film was based on
‘manifestations of modernity’ (Haver 2005, 136).9 In the 1930s, German mountain
film was shaped by Fanck's student Luis Trenker. Born in 1892 in South Tyrol,
Trenker worked as a mountain guide in addition to being an architect. He first
came across mountain film in 1923, when he was hired as an alpine consultant
during the shooting of Arnold Fanck's film Der Berg des Schicksals (1924), and
later as an actor.
   National highlights of the mountain film genre in France, on the other hand, did
not occur until the 1940s and 1950s with the films by director and professional
alpinist Marcel Ichac. In reaction to the German approach to the genre, ‘the
French mountain film was to impose a new version freed from any pathos and
giving its place to the gesture and the pure relationship of man to the mountain’
(Fenoli 2009, 3). Before that, mountain films from Germany were shown in
France. Although he then distanced himself from the German conception of
mountain films, Ichac had surely seen most of them, including Les Chevaliers
(Ichac 1960, 12-13).
   In Italian cinema, as mentioned at the beginning, mountains played a central
role very early on, in the 1910s mainly with directors such as Giovanni Vitrotti
and Mario Piacenza. Piacenza, who was also a professional alpinist like many
directors of this genre, once again filmed the ascent of the Matterhorn with
Ascensione al Cervino (1911) – this time the cinematic event lasts 14 minutes.
The Alps were also to become a setting in an episode of the Maciste (1915–


Cinéma & Cie vol. 23 no. 40 2023 · ISSN 2036-461X                                       145
                        1926) series. In Maciste alpino (Maggi-Borgnetto, 1916), the Italian film hero,
                        Bartolomeo Pargano, with his masculinist, heroic character roles may have
                        later found a continuation in the figure of Trenker (Schrader and Winkler 2018).
                           In the history of MVs Der Sohn/Les Chevaliers is a special case. For one
                        thing, this German-French coproduction was the first of a series of MVs of the
                        mountain film genre ‘made by Trenker’. It was followed by Berge in Flammen
                        (1931, D/F/E), Der Rebell (1932, D/E), Condottieri (1937, D/I) and Der Berg ruft
                        (1938, D/E) (Haque 2013).10 These ‘multiple Bergfilme’ or ‘multiple mountain
                        films’ have received little attention from film scholars despite their quantitative
                        and qualitative relevance to European cinema in the 1930s, which we wish to
                        highlight here.
                           In research on the mountain film genre, this is probably due to the tendency
                        to focus on Trenker’s German titles, since for the cultural history of the Alps in
                        German-speaking countries, the South Tyrolean ‘mountain legend’ even has a
                        mythical function.
                           As for the MVs, the lack of attention in academic literature could be attributed
                        to the fact that none of these titles were produced by UFA, that is, that major
                        German film production company of the time. Film history itself also lacks the
                        connection between MVs and mountain films. For example, although Siegfried
                        Krakauer's proto-fascist reading of Trenker’s films is well known, Kracauer
                        (2017) never mentions its MVs. Even in the chapter Corinna Müller (2003, 339 –
                        350) devotes to Der Sohn, specifically exploring how revolutionary its dubbing
                        technique was for the early 1930s, there is no mention of Les Chevaliers.



                        REGIONAL, NATIONAL, EUROPEAN
                        IDENTITIES (AND WHERE TO FIND THEM)
                           Der Sohn/Les Chevaliers fosters the establishment of the career of Trenker
                        as a sound film professional; together with him, also Renate Müller and Mary
                        Glory have been positively favoured by their roles in the two MVs. The case of
                        Glory is particularly striking, for Trenker was not that famous in France in 1930
                        and therefore she gets to emerge as the main star of Les Chevaliers. This is
                        often highlighted in the press, for instance by Maurice Bessy in Cinémonde, who
                        says that Les Chevaliers is one the films that established Glory among ‘our first
                        stars (Bessy 1931), but is also evident in the graphic of the several film posters
                        [Figg. 3 and 4], as well as in the film credits: Luis Trenker is always in the
                        foreground of the German material, whereas the prominent star in the French
                        material is definitely that of Mary Glory, and in film credits of Les Chevaliers the
                        first mentioned is Glory, followed by Trenker.
Fig. 3 (next page)         MVs often play on the adaptation of the nationalities on a double level: the
Poster of SwB (1930),   nationalities of the cast involved in the film, and the nationalities of the fictional
provided by Museo
Nazionale della         characters. In the case of Der Sohn/Les Chevaliers, a significant part of the
Montagna di Torino.     cast remains unchanged. Luis Trenker as main character, a professional skier



146                                                               Adorno, Fuchs, Transculturality of the Alps
Cinéma & Cie vol. 23 no. 40 2023 · ISSN 2036-461X   147
148   Adorno, Fuchs, Transculturality of the Alps
                                                                                      Fig. 4 (next page)
                                                                                      Poster of CdM (1930),
                                                                                      provided by Museo
                                                                                      Nazionale della
                                                                                      Montagna di Torino.




and mountain guide; Michael von Newlinsky as the antagonist, engineer Milacs;
Karl Steiner and Emmerich Albert as friends and other team members of the
German ski national team; Jim Gérald as desk clerk.
   As shown in the table above, the names of all these characters have been
changed in Les Chevaliers to better fit the French linguistic and cultural system,
starting from the adaptation of ‘Hans Turri’ as ‘Georges Charlier’. Also, this part
of the cast that remains in both versions is exclusively Austrian or Austro-
Hungarian, exception made for Gérald, who is the only French actor acting in
both films – something that the French press did not hesitate to stress.
   Then, two are the relevant characters played by different roles in the two
versions, starting from the character of Mary, played by German Renate Müller
and by French Mary Glory respectively. The same for the character of Anni/
Christine who is the cousin of Turri/Charlier and has tender feelings for him;
she is also played by a German actress in Der Sohn and a French one in Les
Chevaliers.
   Consequently, we have observed that all characters that change between
the two versions are of German and French nationalities accordingly. But the
core part of the cast is of Austrian origins, and while the ‘foreign’ stars change
between Der Sohn and Les Chevaliers, the Austrian ones remains unchanged.
This has an impact on the acting and presence on the screen, for the Austrian
cast obviously acts very similarly and is dressed in the same way in the two
versions, though the same cannot be said for the German and French actors.
If we consider the Doppelgänger Müller and Glory, for instance, we observe
a difference already in their clothes. Müller has a stronger impact, and her
physical stature, her way of speaking and dressing mirrors a resolute, strong-
willed style, while Glory has a more modest and delicate presence. The fact




Cinéma & Cie vol. 23 no. 40 2023 · ISSN 2036-461X                                                      149
Fig. 5
In this scene, when the
German/French team
greets Mary and her
father, only the dressing
style of Müller (links) and
Glory (right) variates.
Fig. 6
In this scene with the
two female characters of
Mary and Anni/Christine,
both dresses variate.
Especially the fur that
Müller wears (links)
imposes itself visually
during the scene.




                              that the clothes used were so different could, in the context of MVs, testify to a
                              detailed plan of cultural adaptation [Figg. 5-6].
                                Also, as we will see in a few lines, the production took care of details such as
                              having two different banners advertising the finish line once in German ‘Ziel’
                              and once in French ‘Arrivée’ [Fig. 7].
                                As shown, the majority of the cast in both versions is of Austrian origins, and
Fig. 7                        the fictional film character Turri has Austrian origins in the film, too, though
Detail of two different       Turri and his teammates run for the German ski national team in Der Sohn and
banners advertising
the finish line. The shot
                              for the French one in Les Chevaliers.
is almost identical, but        The trio gets to meet Mary at the beginning of the film, who immediately
the banner is written         recognizes them as famous skiers and is thrilled to meet them: this shows
in German in SwB
(links) and in French         how each version gives to its own national audience not only its own national
in CdM (right).               star, but also its own fictional champions (French champions in Les Chevaliers




150                                                                   Adorno, Fuchs, Transculturality of the Alps
and German ones in Der Sohn). Also, it is in this same scene that another
important variation manifests. In the German version, Turri states that they
run for Germany for the Europa Meisterschaft in Skilaufen, while Charlier, in
the French version, says that they represent France for the Chammpionnat
de ski. In the French version, the general European background is not kept,
as also confirmed by the analysis of the textual level of the films. After the
aforementioned misadventures, and with the help of his ski-comrades, then,
Turri/Charlier will finally succeed in making Germany win the race in Der Sohn
– France in Les Chevaliers, spectacularly joining his teammates at the very last
moment.
   If one looks at the main character, then the issue goes even further. Turri is
competing for Germany, though from his accent and his way of expressing we
understand he comes from South Tyrol (as Trenker himself). In addition, his friend
Anni, who also has a crush on Turri like Mary and lives with him and his mother in
the hotel, prepares Turri’s favourite dish: ‘Tiroler Knödel’.11 Interestingly, Charlier
is depicted as French because of his language, first of all, but also due to a quite
peculiar culinary adaptation; also in the French version, his cousin Christine
prepares for her beloved Charlier his favourite dish: a ‘soupe au fromage’. This
reference could have been avoided easily, or even cut; instead, the dish is kept,
and it is adapted to the new targeting context. The Knödel are a cultural vehicle
and, as such, they are kept and adapted accordingly. The attention to such a
detail is enough to show how attentively these versions have been constructed
to make their respective national identifications possible [Fig. 8].
   To sum up, the most important consequences of these choices related to
nationalities and cultural elements is that in the German-speaking version
there are three nationalities interacting (Germany, Austria, France), while in the
French version all happens within France and French culture. In this sense, it
is quite emblematic the fact that, in one of the first scenes, the friends of Turri       Fig. 8
refer to Mary as the ‘Französin’, while the friends of Charlier refer to her as ‘la       Christine serves ‘Tiroler
                                                                                          Knödel’ to Turri (links)
fille Parisienne’. To the internationalism of Der Sohn, Les Chevaliers answers            and Anni serves ‘cheese
with an intra-national structure, where the main opposition kept is that of being         soup’ to Charlier (right).




Cinéma & Cie vol. 23 no. 40 2023 · ISSN 2036-461X                                                            151
      French from Paris instead of French not from Paris. Again, it would have been
      easy and more consistent to switch the two nationalities instead, having Mary
      coming from Germany. In a production where much attention is given to the kind
      of dish the actors are eating, one can assume that the choice of the nationalities
      must have been well thought, too.
        On a side remark, it is worth noting a specific aspect of the Italian edition
      of the film. Here the ski-team is not German, nor French (as one could have
      expected, since the visual version that circulated in Italy was Les Chevaliers),
      and, surprisingly, it is not even Italian. The team in the Italian film edition is
      Swiss. So, in this case the aim was not to nationalize the team to better fit
      the new target context, but rather to renationalize it in a more neutral way,
      which was more consistent with the Swiss setting of Zermatt and the Swiss
      protagonists. This renationalisation strategy could also be related to the lip-
      synching constraints when revoicing the dialogues in Italian, since the French
      pronunciation is closer to the Italian one than the German one. Altogether this
      choice was allowed by the multinational Alpine context, which makes all these
      combinations plausible and legitimate.



      THE TEXTUAL DIMENSION AND (MULTI)
      NATIONAL ENVIRONMENTS
         The important role given to the text, in several forms, is a peculiarity of this
      film and therefore deserves special attention, especially due to the way it gets
      to be connected to identity issues and transnational variations. In fact, many
      scenes of both versions display textual elements such as posters, geographical
      signs, press articles, telegrams, notes and letters, which all together contribute
      to introduce a further level of complexity.
         Let us begin with the most prominent of these multiple textual elements,
      namely the press articles. Right after Turri/Charlier is accused of murder, the
      news spreads in the press. In one of the very few sequences of both versions
      set in Paris, we first see some shots connoting the urban environment and,
      right afterwards, we see that the journal Paris Soir is being distributed in the
      streets. In the first page, one clearly reads the title ‘Sensational murder in
      high mountains. Engineer Milacs was assassinated by his mountain guide’, in
      German and in French respectively. One element is immediately striking: while
      Les Chevaliers is linguistically consistent, in Der Sohn one sees that this article,
      written in German, has been attached over a journal otherwise all written in
      French [Fig. 9]. Also, in the few seconds before this textual scene, the Parisian
      environment is symbolized in both versions by some images of fireworks and of
      the ‘Galeries Lafayette’ (which appears in textual form, too), though only in Der
      Sohn we see a short shot with the Tour Eiffel right before the press’ sequence.
      Supposedly, for Les Chevaliers there was no need to take care of the shot with
      the Tour Eiffel, for the French audience would have been already familiar with



152                                            Adorno, Fuchs, Transculturality of the Alps
Paris and would not have needed any further symbol to identify it.                   Fig. 9
                                                                                     Scene displaying the
 There is another element that reconnects to the metropolitan Parisian
                                                                                     articles ‘Sensationeller
environment in Der Sohn: the character of Milacs’ wife, who in the German            Mord im Hochgebirge.
version appears in a couple of scenes, for example through phone calls or a          Der Ingenieur Milacs von
                                                                                     seinem Führer ermodet!‘
telegram mail. In Der Sohn, one of these scenes follows the sequence with the        in German in SwB (links)
said press article: we are in Paris, in a luxurious café, and we see the shocked     and ‘Crime Sensationnel
reaction of Milacs’ wife apprehending the tragic news of her husband’s (fake)        en haute montagne.
                                                                                     L’ingénieur Milacs
death. Therefore, this scene not only brings us to the urban environment, but        assassin par son guide’
let us meet an additional, quite important character (indeed, the trap to Turri      in French in CdM (right),
                                                                                     though both are framed
has been planned together by her and Milacs, as we will learn later in the film).
                                                                                     in the same first page of
So, the existence of Milacs’ wife in Paris is filtered by phone calls, a telegram    the magazine ‘Paris-Soir’.
and by the reading of the press, but is still present and carries with her an
urban environment which, even though briefly, contrasts with the otherwise
omnipresent mountainous environment.
 In Les Chevaliers, this is all very different. At the beginning of the film the
wife does not call to the hotel, she just sends the telegram to Milacs and, more
importantly, she never really appears on the screen. In fact, also in the credits,
her character is not mentioned at all. In the French version, Milacs’ wife only
exists through her telegram – the textual level – and the verbal references of
her husband. The plot stays the same but her physical presence is cut and, with
her, the scene in the Parisian metropole, too. This way, also Paris (and, with
it, the urban environment) gets to be partially erased, so that Les Chevaliers
reduces its openness even further, especially when comparing it with the multi-
national and multi-environmental Der Sohn.
 A final example is the posters advertising the ski competition. At the encounter
with Mary, Turri tells that his team runs for the ‘Europa Meisterschaft in
Skilaufen’, while Charlier mentions a ‘Championnat de ski’. This variation is
confirmed by the posters of the competition. They appear several times in the
background, for instance at the reception where the desk clerk works. They
both display the same image of a skier, the location indicated is also the same
(Zermatt), though the poster in Der Sohn says/indicates ‘Europa Meisterschaft’


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      and that in Les Chevaliers only ‘Championnat’. This testifies of a different attitude
      towards the otherwise identical event, the ski competition, which is presented
      as European only in Der Sohn. Our suggestion is that German productions were
      already relating to a European ideal, while French ones might have been less
      interested in stressing this aspect.



      THE MUSICAL DIMENSION OF MOUNTAIN
      LANDSCAPE BY GIUSEPPE BECCE
         Film music is crucial, both for the aesthetic experience of the early mountain
      film and for the transcultural identification of the Alps in the genre, as we show
      with the example of Der Sohn/Les Chevaliers. It was the Italian composer
      Giuseppe Becce who particularly shaped the soundtrack of the mountain film
      genre. Der Sohn/Les Chevaliers was to mark the beginning of a collaboration
      between the Becce, Trenker and the French film producer Vandal et Delac, which
      had not yet been consolidated. His music was able to express ‘the eternally
      changing panorama of the mountain world, the uncanny life of the clouds and
      the grandiose physiognomy of the mountains’, as can be read in a German press
      release for his movie Der Berg ruft (“Bergspitzen” n.d.).
         Considering the reception of his works, Becce is considered Germany's first
      film composer, collaborating with some of the most renowned directors during
      the silent era. Der Sohn/Les Chevaliers was to mark the launch of a decade-
      long collaboration with Trenker. Becce’s preference for the mountain film genre
      can be traced to an aesthetic kinship with the silent film. In fact, there was no
      other sound film genre that had such long scenes with sparse dialogue and an
      overall documentary character as the mountain film and therefore demanded
      on the technique of the musical accompaniment, characteristic of silent cinema
      exhibition. Stylistically Becce’s mountain film scores of the 1930s are also heavily
      influenced by music scored before the commercialization of synchronised
      sound in cinema, that is, for silent films. Becce’s lyrical, heroic scores especially
      in combination with Trenker’s spectacularly photographed forces of nature
      were in academic literature studied as propagandistic (Koepnick 2009, 122-
      123). However, Becce’s film-musical style, which was influenced by Weber,
      Wagner and the tradition of symphonic poems, not only was consistent before,
      during and after 1945, but also represented a commonly used musical style
      in mainstream film productions until the 1950s. His repeated use of musical
      pastorals for the mountain landscapes (also in German-speaking Heimatfilme),
      which give expression to a modernist sentimentality, also corresponded to
      the conventionalized stylistic device for the tonal depiction of nature. Besides
      this, there is also noticeable influence of popular Schlager (sound film hits) –
      whether as source music or as nondiegetic soundtrack.
         As discussed by Corinna Müller (2003), the exterior shots in the German-
      French coproduction Der Sohn/Les Chevaliers were shot without sound



154                                            Adorno, Fuchs, Transculturality of the Alps
recording. Both the sounds and the dialogues were post-synched, and the
music passages added later. In addition to the adaptations of the respective
language and cultural system, there are also differences on the musical level.
In the following chapter, we will elaborate on the role of music in playing with
the different nationalities and cultural elements in the respective film versions.
More specifically, we will approach the different levels of film music analytically,
extra-diegetic and diegetic music as well as the sound film hit Wir Kameraden
der Berge/Marche des Chevaliers De La Montagne composed especially for the
film by Becce.



MUSICAL ‘AUTHORSHIP’ AND
EXTRADIEGETIC SIGNATURES
OF THE ALPINE REGION
   The level of extra-diegetic music immediately raises questions about musical
‘authorship’12 in the French-language version. During the final sequences of
the film, a completely different music can be heard in the French and German-
language version, the latter of which Becce composed.13 This is the sequence
of the ski race, which lasts nearly ten minutes in both versions. The silently
shot alpine panorama in Zermatt could have well been visually and musically
adapted as a unifying element between the cultures, without the need to
add another important difference between the two film versions. However,
the fictional winter sports event in the Zermatt ski region was partially shot
with two different cameras as well as we hear a completely different musical
accompaniment in Les Chevaliers than in Der Sohn.
   In Les Chevaliers it consists of a few monotonous motifs and rhythmic figures
that sound in unison. In total, we hear 10 minutes of low-contrast effects and
atmospheric music. If the refrain theme of the sound film hit Wir Kameraden
der Berge were not sounded several times instrumentally, Becce's trace would
have been blurred completely. The musical illustration of longer film scenes
with more or less unchanged image subjects is actually one of the composer's
specialties, which he had already stylized in the silent era.14 In the German
version, on the other hand, we hear contrasting illustrative music very typical of
Becce, consisting of motifs from the sound film hit, march-like rhythms, waltz-
like themes, and rapid up-and-down sequences that correspond with the skiers'
rapid movements. Instrumentally, woodwind and brass instruments, strings
and percussion are used, making the accompanying music more contrasting.
It is hard to imagine that problems with the copyright could have been the
reason for a completely different extra-diegetic music for this final scene in
Les Chevaliers. In the French version, there are film scenes that reveal Becce's
characteristically suspenseful underscoring, even if somewhat altered by the
editing of some scenes such as the one in which Milacs is searched for in the
mountains.


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         In general, Becce's signature on the level of extra-diegetic film music is less to
      be found in Les Chevaliers than in Der Sohn. This has to do with the fact that some
      film scenes with extra-diegetic music from the German version do not appear
      in the French one or have been omitted. For example, the scene in Der Sohn at
      the beginning of the film where ski jumpers are shown competing for a minute
      and a half. In addition, we hear off-screen voices commenting on the sporting
      event and a rural utility music (Gebrauchsmusik) played instrumentally by a
      brass band, which corresponds very well with the identification of the Austrian
      origin of the actors and the fictional Austrian origin of Trenker in Der Sohn. For
      all practical purposes, the post scoring of the dialogue and the dubbing of the
      music would have allowed the scene to be used in Les Chevaliers, but the brass
      band music associated with the Austrian countryside probably disrupted the
      intra-national structure of the French version.
         The scene after the ski jumping competition in Der Sohn likewise does not
      appear in Les Chevaliers. This is accompanied by the fact that an important
      musical topos associated with the Alpine region is also not heard. In Der Sohn,
      we see Trenker, Mary, and Milacs sitting on a mountain peak, with cuts to the
      cross-country skiers training in the snow-covered Alpine landscape. This is
      accompanied by oboe and clarinet passages as well as horn phrases. Becce
      repeatedly resorted to these typical characteristics of a musical pastoral for the
      setting of high mountain landscapes in mountain films as well as in Heimatfilme15.
      Becce thus joined a phenomenon of European artistic expression for the musical
      depiction of pastoral and rural life that had been received since antiquity. This
      tonal ‘topoi’ or ‘code’ associated with the Alpine region and circulating medially
      in works such as Richad Strauss's Eine Alpensymphonie (1915) is omitted
      entirely in Les Chevaliers by the omission of the scene. Only in the opening
      credits of the French version, when the Matterhorn is shown in close-up, one
      hears elements of the pastoral topos.The fact that the musical representation
      of the Alpine region was omitted in Les Chevaliers and thus also freed from a
      specific kind of audiovisual pathos perhaps already indicates the genre's own
      development in France, which indeed took on striking characteristics a decade
      later through Ichac.



      DIEGETIC MUSIC AND
      NATIONAL REFERENCES
        The diegetic film music is another important narrative element in the play with
      nationalities and the respective cultural adaptation strategies of the German-
      French versions. For example, right at the beginning in Der Sohn, while the
      three skiing buddies stop at a hut after meeting the French tourist for the first
      time during their training on the ski slope, Turri is teased by Morel. The friend
      insinuates that Turri likes ‘die Französin’ and then whistles the Marseillaise,
      thus simultaneously locating Mary geographically via the whistled melody



156                                            Adorno, Fuchs, Transculturality of the Alps
of the French national anthem. In Les Chevaliers, this musical reference to
France was cut out; it was probably not necessary within the intra-national
conception of the film version. In Der Sohn, another national descriptor can
be observed through the diegetic music, namely in the Paris scene already
mentioned above, in which the ‘sensational murder in the high mountains’ is
announced in the café. In Der Sohn, we see three coffeehouse musicians and
hear a chansonnière singing along with them. Through the representation of
the coffeehouse musicians, not only the atmosphere of the luxurious café, but
rather the geographical location itself is made clearly audible to a German-
speaking audience – and this primarily through the use of the French chanson.
Just as in the Paris scene in Les Chevaliers the Eiffel Tower was omitted as a
symbol of French identification, in the same scene we do not hear any music
that should represent France.
  A cultural adaptation of the diegetic film music to the respective film version
can also be described by the use of the sound film hit Wir Kameraden der
Berge. Apparently inspired by the songs of Ferruccio Biancini (“Febbrile
attività” 1930, 6), the hit song was composed by Becce especially for the film,
although it was to be heard again in later feature films and documentaries with
an Alpine setting – for example in the feature film Berge in Flammen, which
was made a year later. In Der Sohn as well as in Les Chevaliers, the song is
used as a recurring motiv linked – whether sung, whistled or instrumentally
– to the three skiing companions, while the song in its sung manner has been
adapted to the respective language and cultural system of this MV. We hear
the refrain of the song in Les Chevaliers in French and in Der Sohn in German
when the three ski buddies perform together. The linking of the song with the
three skiers intervenes significantly in the dramaturgy of the film, since it is not
only about the film hero Trenker, who defeats evil and energetically restores
the disordered order, but also about the motif of comradeship, omnipresent in
alpinist discourse.
  The text was written by the German author Heddy Knorr. She worked as an
author in numerous films in which Becce was responsible for the sound film
hits.16 In accordance with the alpine subject matter, the text has as its content
both the idealization and exaltation of the high mountain landscape and the
heroic male comradeship experience in the mountains and could therefore be
more easily communicated linguistically and adapted transculturally.



TRANSCULTURAL SOUND OF THE ALPS
  The plurimedial dissemination of sound film hits, for example, in sheet music,
records, music albums, or printed song texts is part of the conventions of the
commercial evaluation of film music by the music industry, which gives the films
a specific musical dimension and has a decisive influence on their memory-
forming potential. The marketing of film music also provides information about
the success of a film. The plurimedial distribution of Wir Kameraden der Berge


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                        was to leave a lasting mark on the sound of the transnational and transcultural
                        space of the Alps. The film song was distributed in different media in Germany,
                        France and Italy parallel to the release of the film. In Germany, for example,
                        a recording with two record stars of the Weimar Republic – the singer Paul
                        O'Montis accompanied by the lightly swinging dance orchestra of Danjos Béla –
                        appeared on the German label Odeon under the title Wir Musketiere der Alpen
                        (1930) immediately two days after the film’s release.17
                          In 1930, a recording under the same title with a record star of the Weimar
                        Republic, namely Oskar Joost, was also released on the German label Electrola.
                        The same recording from July 1930, also went on sale in France and Italy
                        through disque grammophone and disco grammofono. Like Electrola, both labels
                        belonged to the British Gramophone Company near Berlin. The distribution
                        of the sound film hit with a German recorded text version in France and Italy
                        can be traced back to the fact that German was spoken and consumed in the
                        regions of Alsace-Lorraine and South Tyrol. After all, South Tyrol, located in the
                        Alps, was predestined for the reception of the mountain and hiking song Wir
                        Kameraden der Berge. A reception of Becce’s hiking song in Alsace-Lorraine
                        cannot be ruled out due to its geographical proximity to the Alps. In addition to
                        the marketing of the song in various recordings, it was also distributed through
                        sheet music editions in the transnational Alpine region and thus made available
                        for the various practices of musical appropriation.
                          In 1930, for example, the song Wir Kameraden der Berge was published
                        for voice and piano by the publishing houses Winkler & Harm (Innsbruck),
                        by Anton J. Benjamin (Leipzig) and by Edition Meisel & Co (Berlin). Under
                        the title Marche des Chevaliers De La Montagne and in the arrangement by
                        Fryck Winners, Becce's sound film hit was also published in 1931 in a sheet
                        music edition for orchestra and piano by the French music publisher E.M.A.C
                        [Fig. 10].18 The French text was written by Pol Varence. The translation of the
                        song text into French naturally allowed for a nationwide reception or cultural
                        remembrance of Les Chevaliers. The distribution of the sound film hit in French
                        also allows conclusions to be drawn about the popularity of Les Chevaliers or
                        the popularization of the mountain film genre, which was to find an important
                        starting point in France with Les Chevaliers. The transnational marketing of the
                        song refers not least to the transcultural identification of the Alpine region.



                        THE ALPINE EPICENTRE
                          Der Sohn/Les Chevaliers is a succeeding model of MV. The two versions are
Fig. 10                 based on the same screenplay, they have been created semi-simultaneously
Poster of the music
of CdM, Marche des      (Barnier 2013)19 and adapted by the same persons, though they have been
Chevaliers De La        shaped differently according to their targeting contexts. Indeed, the analysis
Montagne, E.M.A.C.      of film, text and music lead altogether to a similar conclusion: by playing with
1931, provided by
Museo Nazionale della   different nationalities, having a European frame and displaying the metropolitan
Montagna di Torino.     environment, Der Sohn is more internationally oriented than Les Chevaliers,



158                                                             Adorno, Fuchs, Transculturality of the Alps
Cinéma & Cie vol. 23 no. 40 2023 · ISSN 2036-461X   159
      which is the result of several relocations and adaptation strategies. The changes
      of location were emphasized primarily acoustically through the use of diegetic
      music, as reminded by the musical cue of the Marseillaise and the musician in
      the French café.
         In the French version, the dimension of the ‘other’ is reduced to the minimum,
      since the action takes place in Zermatt, which is in Switzerland and not in France.
      Starting from the same point, that is, from the narratological and geographical
      epicentre of the Alps, Der Sohn goes more international and European, while
      Les Chevaliers goes more local and remains within the French context. We
      suggest that the reason for this might be that Trenker and mountain films
      were already well established in the German-speaking context at the time of
      the release of Der Sohn, while in France the first establishments of a mountain
      film genre coincided with the release of Les Chevaliers – as, has been shown,
      Les Chevaliers was also still marketed there as a sport film. In other words,
      the German version could count on an audience familiar with the genre, the
      romantic rhetorics of the Alps, and the film’s main character, the romantic
      rhetorics of the Alps, and the film’s main charachter, Luis Trenker, and thus
      could take a broader, more international direction.
         The setting of the Alps, on the other hand, first had to find an audience in
      France. Arguably, with the intra-national structure within audiovisual narration,
      the new, mountainous film location could be brought closer and conveyed to
      a French audience of the time. Nevertheless, if one avoids the distinction of
      nationalities and urban environment, part of the transnational atmosphere
      remains in the French version as well. The film is actually set in a ‘foreign’
      country, in the Swiss location of Zermatt, and we also acknowledge the presence
      of other national teams, for instance the Austrians who are the main competitors
      during the race in the final scene of the film. The fact that the location is not
      strictly French is not so problematic for Les Chevaliers, since the Alps bring
      with them a multinational environment. Because of their semantic openness,
      the Alps offer a particularly ideal setting for MVs, an ‘open-air epicentre’ for
      transcultural communication as well as for nationalization processes.
         As a geographical territory at the intersection of several countries and
      cultures, the Alpine environment proves to be a privileged territory for diverse
      cinematic cultural transfers through Der Sohn/Les Chevaliers. This is also
      confirmed by the hit song Wir Kameraden der Berge, composed especially
      for the film: its international marketing illustrates how open the subject of the
      Alps was to transcultural appropriation practices, both through the sale of the
      German recordings in France and Italy and through the French version of the
      lyrics by a French publisher. In order to understand how the adaption strategies
      of MVs worked together, it would be further interesting to link our analysis to
      the question of how the film and Becce’s hit song circulated in countries such
      as Switzerland and Austria, which are close to the film production and content
      of the film. Since we know that a post-synchronized version of the film existed
      and circulated in Italy, a further comparative analysis of this French-German
      MV should primarily include the Italian context.



160                                           Adorno, Fuchs, Transculturality of the Alps
   Since Der Sohn/Les Chevaliers is the first ‘multiple Bergfilm’ of the history of
cinema, our analysis can serve as a solid basis for understanding the transcultural
significance of the Alps in European cinema of the early 1930s, although again,
the Swiss, Austrian, and Italian contexts of Der Sohn/Les Chevaliers’s reception
and interpretation are missing for a broader assessment. Due to a lack of source
insights on the Italian version of the film or a lack of resources for systematic
research of press materials on the film in the aforementioned countries, we
focused on the two cultural context the film was produced by.
   To sum up, the ’multiple Bergfilm’ by Trenker object of out paper contributes
a deeper understanding of the significance of the Alps in European early sound
film history and of the progressive medialisation of the alpine landscape through
mountain films.

  The authors would like to express our sincere thanks to Marco Ribetti, Museo
Nazionale della Montagna di Torino, for his precious help and for allowing us
access to the audiovisual material for research purposes.




Cinéma & Cie vol. 23 no. 40 2023 · ISSN 2036-461X                                     161
Notes
  1
      On the shifting conceptions of the Alps in cultural and intellectual history and the backgrounds of the
history of the mountain film genre see Giesen 2008 and Baer 2016.
   2
       German mountain film has received critical attention to date for its political, social, and aesthetic
implications, but remarkably little about its role in the environmental history of the Alps. On the depiction of
mountain films in the context of the development of Alpine tourism and the role of the media in environmental
change. For an investigation on that topic see Peabody 2021. On the idea of climate history in constellation
with modernity in early German mountain film see also Bush 2019.
   3
     The following abbreviations will be used from now on: MV(s) for multiple version(s).
   4
      The most prominent research on the phenomenon of the MVs has been conducted between 2002
and 2004, when the topic was actively revitalized by groups of film scholars in Hamburg, Germany, and
especially in Udine, Italy. See for instance the issues of Cinema & Cie devoted specifically to MVs and
to the concept of multiplicity (nn. 4-6, 2004-2006); Distelmeyer 2006; Antonini 2003). These essays raised
fundamental questions about MVs and set the basis for future research. Next to them, Martin Barnier (2004)
has specifically specialized on French-Hollywoodian oversea cases. The works by Joseph Garncarz on the
interrelation between languages and cultures, Malte Hagener on the transnational dimension of MVs, and
Chris Wahl on UFA productions (all published in Cinema & Cie) have been especially useful to frame the
current study.
   5
     The following abbreviations will be used from now on: Der Sohn for Der Sohn der weißen Berge and Les
Chevaliers for Les Chevaliers de la Montagne.
   6
     Very few papers and scholars have researched the interrelation between MVs and music. Few exceptions
are the ones involving the German-French MV Die Dreigroschenoper / L’Opera de quat’sous as well as the
German, French and Italian coproduction Paprika (1932/33). See O’Brien 2006; Calabretto 2004; Zechner
2021.
   7
      In many cases, the MVs are not archivally accessible. Contrary to expectations, we were only able to
find the French copy in the archive of the Mountain Museum in Turin, which plays a relatively minor role in
Europe. However, this shows how important it is in the research of MV's to also give importance to the more
local, specialized cultural heritage.
   8
     This reception was prominently represented by Siegfried Kracauer (2017) and Susan Sontag (1981).
   9
    In the international reassessment of the fictional, German mountain film, Eric Rentschler (1990) was one
of the first to highlight the genre's dialectical relationship between ‘untouched’ nature on the one hand and
modern technology on the other.
   10
       For a detailed analyses of both versions see Haque 2013.
   11
        The fact that ‘Tiroler Knödel’, of all things, are the favourite dish of a Swiss mountain guide was
considered irritating in a film review of the 1930 German version with regard to the linguistic portrayal of
the various nationalities, as was the fact that the Americans, French and Swiss in the German version all
speak in the Berlin dialect. (“Alpine Literatur”1930, 102–103).
   12
       In many cases, film music is a collaborative effort. Especially in genre cinema, the music, as it is ultimately
heard in the final soundtrack, is rather to be understood as a sequence of decisions. Conceptual preliminary
stages of the film music can already be found, for example, in some scripts for Trenker's mountain films.
   13
       Part of the composed music of this final scene is available in the music collection of the German Film
Institute in Frankfurt (DFF, Deutsches Filminstitut).
   14
       For example, his cinema pieces are characterized by flexible and lively architecture.
   15
     Maria Fuchs. 2024. “The Silences of the Woods: Heimat and Anti-Heimat”, 19th century music, forthco-
ming.
   16
        For example, she wrote the lyrics for the sound film hits of Berge in Flammen, Condottieri or Der
Verlorene Sohn.
   17
       According to Andreas Schmauder (owner of Phonopassion, an archive of historical sound carriers) the
record was released on 14 August 1930.
   18
       An edition of the sheet music is in the French National Library.
   19
       The concept indicates MVs shot keeping time and space unity within the versions of a same title.




162                                                                      Adorno, Fuchs, Transculturality of the Alps
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