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Lowlands (1954)
"Tiefland" (original title)

6.3
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Ratings: 6.3/10 from 259 users  
Reviews: 4 user | 6 critic

Set in the early part of 20th century Europe. There lived a dancer who becomes the romantic bone of contention between a humble shepherd and an imperious marquis.

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Title: Lowlands (1954)

Lowlands (1954) on IMDb 6.3/10

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Cast

Cast overview:
Bernhard Minetti ...
Don Sebastian, Marquès von Roccabruna
...
Martha, eine spanische Betteltänzerin
Aribert Wäscher ...
Camillo, Verwalter des Don Sebastian
Karl Skraup ...
Bürgermeister
Maria Koppenhöfer ...
Donna Amelia, seine Tochter
Franz Eichberger ...
Pedro, der Schafhirte
Luis Rainer ...
Nando, ein alter Hirte
Frida Richard ...
Josefa, eine alte Magd (as Frieda Richard)
Max Holzboer ...
Der Müller Natario (as Max Holsboer)
Charlotte Komp
Mena Mair ...
Die Müllerin
Hans Lackner
Walter Brückner
Bekuch Hamid
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Storyline

Set in the early part of 20th century Europe. There lived a dancer who becomes the romantic bone of contention between a humble shepherd and an imperious marquis.

Plot Summary | Add Synopsis

Genres:

Drama | Romance | Musical

Certificate:

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Details

Country:

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Release Date:

April 1954 (Austria)  »

Also Known As:

Lowlands  »

Filming Locations:

 »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Leni Riefenstahl claimed throughout her life that all the gypsies used in the film as extras were treated very well and that "all of them were seen after the war", safe and sound. It was not until the late 70's and 80's that documents were found proving that she personally went and selected the gypsy extras in the Maxglan-Leopoldskron camp (near Salzburg) for filming in the Dolomites in 1940, and in 1942, in the Marzahn camp for the studio scenes, filmed in Babelsberg. These extras are seen, for instance, in the dancing sequence in the tavern, and when gypsy children run along Pedro when he comes down from the mountain to marry Martha. It is also now proven that most of the Gypsy extras perished in the Auschwitz extermination camp. See more »

Connections

Featured in The Story of Film: An Odyssey: Episode #1.4 (2011) See more »

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User Reviews

 
Sensuous and Forbidden
26 February 2004 | by (Cyberia) – See all my reviews

I'll get my ass kicked for saying this (so what else is new), but this is a great movie. The composition of the visuals makes it utterly compelling. The Spanish setting comes totally to life, and I speak as someone who has visited the country. The cruelty of the aristocrats, the desperation of the peasants, the sensuality of the señoritas…it's all typical of the place, and you can see it in Spanish movies like Los Santos Inocentes (1984). That this should have been achieved by a bunch of foreigners shooting in 1940 is a tribute to the genius of director-star Leni Riefenstahl.

LR was originally a dancer, and it shows in her superb command of flamenco dancing here. Having seen the real thing, I can swear that she is as good as any of the Spanish dancers who have grown up doing mudanzas and seguidillas. Being the director, she has the advantage of getting the camera to ogle her every sensuous gyration at close range.

The story concerns a gypsy beggar-dancer who wanders into a Spanish village, where a shepherd falls in love with her…and a Marquis falls in lust with her. It must be said that the more romantic scenes are cliché, almost like Valentino, but the more carnal scenes really give off sparks.

Riefenstahl's main concern is with nature and the mountains. The constant theme of the story is the contrast between the purity of the high mountain pastures (moisture and fresh air) and the corruption of the Tiefland (lowland) with its cruel aristocracy and downtrodden peasants - "the men are bad and the women are sick". The scenes of nature photography are first-rate, and anyone who hasn't seen Tiefland is missing out on a major part of the development of cinema. Especially of note are the fast motion scenes of clouds rolling in and lightning striking, also the opening scene with the shepherd wrestling a (very real) wolf. Many of the scenes seem to be directly taken from Goya's paintings of peasant life.

It is interesting to consider that LR's "mountain-films" may have been the ancestors of the spaghetti-western. Tiefland and The Blue Light have many of the features of a western, and could easily be re-made as such (although they would lack the animal magnetism of LR). Try comparing Tiefland to A Fistful of Dollars, you'll see what I mean.

Tiefland was mostly shot in 1940, though for various reasons it wasn't released until 1953. It seems that the extras in the film are gypsies recruited from concentration camps, so the bitterness they exude may be more than just acting. That peasant woman who snarls "you rat" probably really means it. In this sense, Tiefland is a movie about itself and a fascinating social document that takes us back through time and space. (One way we can sympathise with these people is to appreciate their performance for us here). There are even some who maintain that the love-hate relationship between the dancer and the Marquis is a comment on LR's own relationship with Hitler, although I must leave this to others more knowledgeable about European history.

I would like to thank the Imdb-ist who sent me a decent copy of this film, which I never would have thought to watch. You should see it too, dear reader.


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