However, Noel - influenced by Frank Hurley's film of Shackleton's Antarctic expedition South (1920) - brings a genuine artistry to his documentary. The careful framing of every shot means the viewer never loses a sense of perspective: the human activity pitted against the sublime and towering landscape. Sensitive to plays of light, the shadows of clouds scuttling across the snow-scape and the creeping shadows of dusk bring the landscape alive and make explicit the thesis that Chomolungma (the Tibetan name for the mountain) has a personality of her own and broods over the activity of the British party. Noel's narrative skills are also obvious as he takes interest in the local Tibetan women's hairdos, a young boy getting a butter bath and the monks upon their teetering monasteries.
What's more, the men in the expedition party are glimpsed as curious eccentrics, with their individual interests and responsibilities. As The Epic of Everest unfolds, there is a genuine feeling of melancholy as these men go from the jolly party of individuals to the austere black dots on a landscape of cruel white, arranging blankets on a slope to signal death and the ultimate abandonment of hope. George Mallory and Sandy Irvine's demise haunts the film but although elegiac - their images emerge at one point like ghosts - Noel's doc is ultimately a reaffirmation of their lives and the mountain, and the bravery of the men who first tried to scale her.
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