HIGH HAZARD: Where Mountaineers are Made
By Stanley Watson et al.
Though we can hardly expect many people to remember it, there was a time when mountaineering cinematography was solely the domain of professional moviemen. Unfortunately their lack of knowledge and ability in the mountains severely hindered the evolution of extreme filming techniques.
Whether through a reluctance to carry their heavy apparatus or professional apathy, the cameramen never ventured too far into the mountains and had only ever caught short glimpses of the easier, more accessible climbs. There was a common problem — as non-climbers the cameramen could not climb up with the party to obtain the best view-points, but instead accepted second best and took their films from the tracks below. Clearly their naivety was a travesty of what a real rock climbing film should be, capturing none of the exposure or risks associated with the sport.
Failures in the industry were eventually confronted by Tynesider Stanley Watson, Chief of the British Mountain Guides. Dissatisfied with previous attempts to film mountaineering and rock climbing he was inspired to make his own film, High Hazard. Watson, a former resident of Keswick, Ambleside and Kendal, was one of the country's leading rock climbers. Already a proficient climbing guide, keen photographer and artist, and sure he had the necessary skills, he formed his own production company, bought five cameras, nominated himself as producer and in May 1934 set about filming with a cast of friends and employees.
"I have nothing derogatory to say against the somewhat meagre attempts which have been made so far to film rock climbing," said Watson. "The best effort to date was in the silent picture The Romance of Wasdale and the success of the climbing shots was due entirely to the vast photographic experience of the brothers Abraham of Keswick. However, High Hazard is one long thrill. We have taken movie cameras where no camera has ever been taken before."
Of course it wasn't as easy as it sounds, and as a newcomer to the film world Watson faced considerable scepticism and indifference. However, he had an ambition which rose over everything and he set out to make a picture that professional moviemen would be forced to accept. High Hazard became the first complete photographic record of British rock climbing, with film shot from those previously-elusive camera positions.
As for content High Hazard certainly lives up to its name. There are no karabiners, helmets or harnesses in sight, and no mention of health and safety assessments. This is rock climbing at its rawest, but that does not hinder nine year old girl, Vivian Verity as she scales Napes Needle, neither does it concern Jerry Wright and company as they make the second ascent of Trophet Arête on Great Gable. It makes the viewer wonder whether climbers were more skilled in those distant days and watching Stanley Watson make a rapid blindfolded ascent of Kern Knotts Crack reinforces the point (see video above). These scenes, along with other events in the film, made history in the annals of British mountaineering.
Watson had foresight and ambition — and in that politically charged post-Depression era he knew that he had to have if his film was to be a success. With that sort of outlook tempered with his climbing ability and the artistic creativity to carry it all off, Watson offered his audiences a view of what adventure in the mountains really looked like, and, more importantly, what mountaineering film could become. Undoubtedly the groundbreaking filming techniques used by Stanley Watson set the precedent for which all subsequent mountaineering films had to follow. A classic amongst classics? You decide!
HIGH HAZARD: Where Mountaineers are Made - £5.00 & Free P&P
