:24:00
and got a standing ovation,
it meant so much to him,
:24:03
partly because he'd been disappointed
in how the film was first received.
:24:07
He stayed in touch
with the islanders.
:24:09
He fell in love with
all the islanders, of course,
:24:12
and he stayed in touch with them
for the rest of his life.
:24:15
They exchanged letters,
Christmas cards, phone calls
:24:19
and he made sure that the film
was shown to the islanders
:24:23
who had participated in it.
:24:25
(Dialogue)
Have you chosen your route yet?
:24:27
Aye. Up the east side, then straight
along, up by the channel.
:24:30
The old way we went egg hunting.
Remember there's no rope this time.
:24:33
I'm no likely to forget.
:24:34
I'm for the south face,
then over the Devil's Elbow.
:24:37
- Longer, but I'll make better time.
- You'll have to.
:24:41
- It's a grand treat for the folk.
- Are you ready?
:24:46
When you get to the burn...
:24:48
(Christie) The challenge
in this sequence is to convey
:24:52
more than just a race or a climb.
It has to be something elemental.
:24:56
It's very interesting how important
the elements are in it.
:25:00
We're very, very conscious
of rock, sea, water, light.
:25:04
Er, it becomes
a truly elemental sequence.
:25:18
Looking at this sequence
of the cliff climb,
:25:21
this is where the film joins
another, quite important, current
:25:25
in '30s film making.
:25:27
It started in Germany at the end
of the '20s, the mountain films,
:25:31
which Leni Reifenstahl
made her name in.
:25:33
And Emeric Pressburger, who
still had not met Michael Powell,
:25:37
they'd be introduced
very shortly afterwards,
:25:40
was working, just about this time,
on a film called The Challenge,
:25:44
about the first ascent
of the Matterhorn.
:25:48
The mountain film, in various forms,
was becoming quite important
:25:51
and this is one of the most
startling, picturesque and dramatic
:25:56
contributions to
the '30s mountain film.
:25:58
It's even more so when we realise