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Alleingang. Alpinismus Und Automedialität

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Alleingang. Alpinismus Und Automedialität MICHAEL OTT Alleingang. Alpinismus und Automedialität Der Weg war ziemlich vorgeschrieben.1 I. Als im Winter 1953/54 Hans Ertls dokumentarischer Spielfilm Nanga Parbat 1953 in die Kinos kam, warb die Leipziger Progress-Filmvertriebs-GmbH dafür mit einer zeitgenössisch üblichen ›Film-Illustrierten‹. Auf derem kolo- rierten Deckblatt, unter dem schräg in die wilde Gebirgsszenerie gemalten Filmtitel, sieht man eine kleine einsame Gestalt nach oben streben; man sähe sie kaum, wäre da nicht die Spur, die sie im ansonsten unberührten Schnee hinterlässt (vgl. Abb. 1). Es ist offenkundig, dass die Film-Illustrierte damit auf den Höhepunkt des Films anspielt – auf die Erstbesteigung des 8125 Meter hohen Nanga Parbat, die dem Tiroler Extremalpinisten Hermann Buhl am 3. Juli 1953 im Allein- gang gelungen war. Buhl wurde durch seinen 41stündigen Gewaltmarsch, bei dem er eine Nacht in 8000 Meter Höhe auf einem Felsgrat stehend verbracht und sich mehrere Zehen abgefroren hatte, zu einer alpinistischen Legende.2 Und Hans Ertls Film darüber, bei dem der Filmemacher und ehemalige Kame- ramann Leni Riefenstahls immerhin selbst bis zum letzten Hochlager auf 6850 Meter Höhe aufgestiegen war, wurde trotz seines unerträglichen Pathos zu einem Erfolgsfilm.3 Doch ist die Titelabbildung der Progress-Filmillustrierten nicht nur wegen ihrer martialischen Gestaltung befremdlich. Denn sie entstand zwar tatsächlich nach einer Fotografie, die einen Alleingänger am Nanga Parbat zeigt. Nur ist die einsame kleine Gestalt nicht Hermann Buhl: Die Vorlage entstand viel- mehr neunzehn Jahre früher, während der deutschen Nanga-Parbat-Expedition 1 Hermann Buhl, Tourenbucheintrag zur Erstbegehung der Maukspitzen-Westwand, 1943. 2 Das Legendarische – ›zu Lesende‹ – ist dabei wohl wörtlich zu verstehen, wie die Fülle der Publikationen zu Buhl zeigt. Zuletzt: Horst Höfler/Reinhold Messner, Hermann Buhl. Am Rande des Möglichen, Zürich: AS Verlag 2003; Hermann Buhl, Achttausend drüber und drunter. Mit den Tagebüchern von Nanga Parbat, Broad Peak und Chogolisa, kommentiert von Kurt Diemberger, Vorwort von Hans Kammerlander, München: Malik-Verlag 22005 [erweiterte Neuauflage der Autobiographie von 1954]. Die folgenden Ausführungen beziehen sich im Wesentlichen auf diese beiden Publikationen. 3 Nanga Parbat 1953, Deutschland-Österreich 1953, Regie: Hans Ertl. Die Uraufführung fand am 13. November 1953 in Anwesenheit des Bayrischen Ministerpräsidenten in den Münchner Rathaus-Lichtspielen statt; vgl. zu Film und Regisseur Rolf-Dieter Märtin, Nanga Parbat. Wahrheit und Wahn des Alpinismus, Berlin: Berlin-Verlag 2002, hier S. 266f. und S. 306. 242 MICHAEL OTT 1934, und das Foto – abgebildet ist der Bergsteiger Uli Wieland – war bereits in Fritz Bechtolds Buch über diese Expedition zu sehen gewesen (vgl. Abb. 2). Abb. 1: Titelbild der Film-Illustrierten Abb. 2: Uli Wieland spurt zum »Silber- zum Nanga-Parbat-Film4 sattel«, Foto Peter Aschenbrenner5 Einigermaßen makaber wird dieser Umstand indes dadurch, dass dies mut- maßlich das letzte Bild ist, das Wieland lebend zeigt. Zusammen mit acht anderen erfror er bald nach dieser Aufnahme in einem plötzlich einbrechenden Schneesturm auf dem »Silbersattel«: Es war eine der Katastrophen, die dem Nanga Parbat in den dreißiger Jahren den zweifelhaften Namen »Schicksals- berg der Deutschen« eintrugen.6 Auf dem Titel des offiziellen Werbeblatts für den Erstbesteigungsfilm erscheint so – förmlich als Wiedergänger – ausge- rechnet einer jener Toten, die bei vergeblichen früheren Besteigungsversuchen umgekommen waren.7 4 Nanga Parbat 1953, Regie und Kamera: Hans Ertl, Film-Illustrierte der Progress-Film- Vertrieb GmbH 1953, S. [1]. 5 Abbildung in: Fritz Bechtold, Deutsche am Nanga Parbat. Der Angriff 1934, München: Bruckmann 1935, Tafel 64. 6 Vgl. Märtin, Nanga Parbat, hier S. 143-216; Horst Höfler, Nanga Parbat. Expeditionen zum ›Schicksalsberg der Deutschen‹, Zürich: AS-Verlag 2002, S. 22ff. 7 Die Figur des Wiedergängers ist für die im Folgenden ausgeführte Problematik doppelt signi- fikant, ist doch die eigentümliche Spaltung und ›Gespenstigkeit‹ des Autorenbildes gerade in .
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