Arnold Fancks mountain film DER GROSSE SPRUNG (1927) captivates not only with breathtaking landscape shots and dramatic staging, but also highlights the fine line between art and political appropriation. Fanck, creator of iconic mountain worlds, initially resisted the appropriation of his work by the Nazi regime. While colleagues such as Leni Riefenstahl and Luis Trenker quickly sought proximity to Hitler's propaganda machine and became influential figures in Nazi film art, Fanck hesitated for a long time before joining the party.
This attitude clearly distinguished him from numerous colleagues, such as Fritz Lang, Friedrich Wilhelm Murnau, and Robert Siodmak, who chose exile in order to preserve their artistic freedom. Fanck remained rooted in Germany and in his genre. However, even he was unable to withstand the pressure of the regime in the long term and eventually gave in.
DER GROSSE SPRUNG in particular impressively demonstrates Fanck's unmistakable signature style, characterized by visionary camera work and a deep fascination with the forces of nature. The film thus becomes a metaphor for the inner conflict of an artist who vacillates between conformity and resistance, between the will to remain independent and ultimate capitulation.
DER GROSSE SPRUNG not only invites viewers to discover spectacular cinematic art, but also challenges them to critically examine how susceptible art is to political appropriation and where the line between conformity, resistance, and opportunism lies for an artist.
