Curiosity was Harvey Edwards’ mainspring. As his college-educated postwar generation settled into conventional lives, he went to Europe in the mid-1950s. There he witnessed the rebuilding of the war-torn continent, including its ski areas and Alpine resort towns, to which he felt drawn. He reported what he saw, in dispatches to the New York Herald-Tribune and in articles for SKI Magazine.
A chance encounter in the winter of 1963 prolonged his stay. In the cabin of the precipitous Brévent cable car in Chamonix, he struck up a conversation with Suzanne Rahmat, a Parisian engineer. She was bilingual, French and English, and well educated, a graduate of École polytechnique féminine. Harvey had met his challenge. He responded. They were married in Paris in June 1965, settled in Chamonix soon thereafter and had two sons, Freddy, born in 1966, and Stanley in 1969.
Their home in Chamonix reflected the history of the agrarian valley. It was a solid masonry farmhouse, built ca. 1750, originally with two stables in the back, one for a donkey and one for a cow, and a hay loft above. It was within walking distance of the center of the city, and in it Harvey set up a small office with a view of Mont Blanc. At first he wrote books, six in all. Three of them were on Scandinavian topics, as he had travelled in Scandinavia and had come to respect the ways that the Scandinavian social democracies care for their citizens. He also started writing for Skier’s Gazette, the predecessor of this magazine. He continued after it became Mountain Gazette; his first article, “To Be Elite, Or Not To Be,” appeared in issue #3 (November 1972 — recently posted in Flashback). His next story for MG, “A Rescue on the Eiger,” appeared in #5 (Jan. 1973), followed by “Running for the Marcialonga” in #7 (March 1973). He had by then also seen a new challenge. Surrounded by mountains and near the Valée Blanche glacier, he expanded into film.
Filming is more demanding of resources than book or magazine writing, so, in 1973, he set up Edwards Films to do it properly. Though a capable photographer himself, he knew that professionals were better, and, thus, brought in some of the best, including Fletcher Manley, Fletcher Andersen (both one-time MG contributors) and Pierre Boulat (known for his photography for LIFE magazine). Other audiovisual experts filled in other skills. Within a decade, he had produced 15 films on skiing and backpacking themes.
But another challenge arose. Despite its status as mountaineering and skiing center, Chamonix remained a provincial city. Harvey felt that his two teenage sons should benefit from better educational opportunities back in the USA. So, in July 1982, the family resettled in upstate New York. Edwards Films then refocused on softer themes, though the humor that lurked in all his films remained. “The Rabbi’s Dilemma” looked at the Jewish faith in the chainsaw culture, and “The Biologist, The Poet, and The Funeral Director” dealt with the fundamental questions of life and death. In all, he produced more than 30 films. His last effort was his first novel, “Road Show,” finished the week before he died last October 10.
M. Michael Brady writes MG’s Dateline: Europe column.