MOVIE: SHE CLIMBS TO CONQUER

*The passcode to view the film is the last name of the cinematographer (case-sensitive)…

“Pretty Sally Sophomore decides to see the world from a mountain-top! So she chooses towering, eleven thousand-foot Mount Victoria in the Canadian Rockies. With her guide she scrambles over the glaciers where a slip spells disaster. There is peril in the warm rays of the sun slow melting the ice but Sally’s eyes are set on the peak.Up she climbs into a world of infinite sky with the giants of the Rockies at her feet. Thrilling incidents mark Sally’s progress as SHE CLIMBS TO CONQUER.” (Description taken from the Associated Screen News Cameo Catalogue).

"She Climbs to Conquer" shot by W.J. Oliver, was a noteworthy film which gained well merited acclaim. Made in 1933 it pictured the climb of Georgia Engelhard, a professional mountain climber, from Abbot's Pass to the peak of Mount Victoria.

Ernest Feuz was Miss Engelhard's guide and Rudolph Aemmer acted in the same capacity for Oliver. They started from the chalet at Lake Louise and made their base the hut on top of Abbot's Pass.

From there the attack of Mount Victoria was launched. Actually to obtain the footage Bill desired, it was necessary to spend nine days in climbing; the mountain was scaled seven times.

This was the first time a standard moving picture outfit had reached the top of Mount Victoria. The ascent was not easy and Bill's greatest difficulty was finding secure and suitable locations from which to photograph the climber. He wanted shots which would establish height and depth and indicate the steepness of the climb. He also required spots level enough upon which to stand the tripod. On one instance the guides lowered him by rope over a precipice onto a ledge which provided the right angle and footing."

"W.J. Oliver; Life Through a Master's Lens"
Sheilagh S. Jameson. Used with permission, Glenbow.org.

“OLIVER, BILL (William s. Oliver) (Canterbury, Kent, England, 28 Jul. 1887 – Calgary, Alta., 1954)

Filmmaker who specialized in wildlife, adventure and nature conservation films (many for the National Parks Bureau in the twenties and thirties), the most famous of which are those featuring Grey Owl.

His films were widely released and admired and have much in common with those of Albert Tessier, not least in the deep sense of empathy with nature that they convey. He emigrated to Canada in 1910 and, after difficulty getting work on a cattle ranch, became a news photographer.

He began freelance filmmaking in 1917, supplying news footage to Fox Canadian News and shooting films for the CPR and CNR.

He began working on contract for the National Parks Bureau in the mid-twenties and continued until 1939 when the establishment of the NFB ended the Bureau’s independent film activities.

He retired in 1944 after serving as official photographer to two wildlife expeditions in Africa and Asia. dir/photog/ed (notably): The Beaver People (28); The Beaver Family (29); Hunting without a Gun (30); Border Trails (31); She Climbs to Conquer (32); Strange Doings in Beaverland (32); Grey Owl’ s Neighbours (33); Home of the Buffalo (34); Sea Lions of the Pacific (35); Pilgrims of the Wild (35); Sunshine and Powder Snow (35); Warriors of the Deep (36); In the Shadow of Assiniboine (36); By-Ways of Jasper (37); Where Cohoes Play (38); Banff to Lake Louise (39); Sanctuary and Playground (39). Embattled Shadows, pp169-72

“The Film Companion – A Comprehensive Guide to More Than 650 Canadian Films & Filmmakers” Peter Morris.

“Canadian Film Is First Of Its Kind“

The Gazette, Montreal, Thursday, March 3rd, 1932

NOTE: Several of Oliver’s films were adapted into sound versions under Gordon Sparling’s direction and released in the Canadian Cameo series. REF: “The Film Companion – A Comprehensive Guide to More Than 650 Canadian Films & Filmmakers” Peter Morris.

"Oliver’s films for National Parks were personal creations. He wrote and designed them, in consultation with J. C. Campbell and other Parks officials. He photographed them himself, often with the help of his long-time assistant, Bud Cotton. Later, in Ottawa, he edited them himself. His name does not appear on any of his film."

"Embattled Shadows"
Peter Morris

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