[16] She made a series of films for Fanck, where she learned from him acting and film editing techniques. [9], Most of Riefenstahl's unfinished projects were lost towards the end of the war. American Reckoning – A PBS NewsHour Special Report. The German dictator was a keen believer in the power of cinema and used it to spread the ideology of his murderous regime. [9], In December 1974, American writer and photographer Eudora Welty reviewed Die Nuba positively for the New York Times, giving a personal account of the aesthetics of Riefenstahl's book:[69]. She uses the light purposefully: the full, blinding brightness to make us see the ail‐absorbing blackness of the skin; the ray of light slanting down from the single hole, high in the wall, that is the doorway of the circular house, which tells us how secret and safe it has been made; the first dawn light streaking the face of a calf in the sleeping camp where the young men go to live, which suggests their world apart. [18], In Triumph of the Will, Tom Saunders argues that Hitler serves as the object of the camera's gaze. [12] She was also athletic, and at the age of twelve joined a gymnastics and swimming club. The last time she saw him was 1944. © 1996 - 2021 NewsHour Productions LLC. It has gone on record that, immediately following the killings, Hitler ordered all copies of the film to be destroyed, although Riefenstahl disputes that this ever happened. She had her commission– not a direct order. It was released in North America on February 19, 2016. The Nazis valued film as a propaganda instrument of enormous power. [9] In the end, the film project was called off. Jeffrey Brown discusses the impact of her film "The Triumph of the Will" with Claudia Koonz, a professor of history at Duke University. [27] Initially, according to Riefenstahl, she resisted and did not want to create further Nazi Party films, instead wanting to direct a feature film based on Eugen d'Albert's Tiefland ("Lowlands"), an opera that was extremely popular in Berlin in the 1920s. Riefenstahl relies heavily for her transitions on portentous cutaways to clouds, mist, statuary, foliage, and rooftops. [45] Afterwards, she left Poland and chose not to make any more Nazi-related films. She was… she showed up at Nuremburg with an extraordinarily talented crew of cameramen. Hitler - A Career 1977 TV-MA 2h 30m Historical Documentaries This documentary examines how Adolf Hitler's talent for manipulation, psychology and image-making led him from humble origins to … [33] Olympia was secretly funded by the Third Reich. She spent about 40 years. [61], Riefenstahl said she was fascinated by the Nazis, but also politically naive, remaining ignorant about war crimes. In Triumph of the Will, Riefenstahl used traditional folk music to accompany and intensify her shots. The accompanied music conveys the meaning behind the images, that of national pride. Her role as an actress in S.O.S. Named Lady Helene, this female director is responsible for making the vast majority of the propaganda films said to be playing (most notably a big-budget movie detailing how America was "liberated" by Nazis). [17] This film won the Silver Medal at the Venice Film Festival, but was not universally well-received, for which Riefenstahl blamed the critics, many of whom were Jewish. [82], Film critic Hal Erickson of The New York Times states that the "Jewish Question" is mainly unmentioned in Triumph des Willens; "filmmaker Leni Riefenstahl prefers to concentrate on cheering crowds, precision marching, military bands, and Hitler's climactic speech, all orchestrated, choreographed and illuminated on a scale that makes Griffith and DeMille look like poverty-row directors". [75] In 1987 an autobiography about Riefenstahl was released, Leni Riefenstahl's Memoiren, regarding her life as a filmmaker and her post-war life. This documentary by filmmaker Leni Riefenstahl 's is about the Nazi party's 1934 rally in Nuremberg, Germany. Olympia was shown at the Chicago Engineers Club two days later. German film director, photographer, actress, dancer, and Nazi propagandist, (from a 1930s postcard honoring Riefenstahl for the, Africa, photography, books and final film, sfn error: multiple targets (2×): CITEREFTrimborn2008 (, The Wonderful, Horrible Life of Leni Riefenstahl, Learn how and when to remove this template message, "Award to German filmmaker spurs debate on her role as propagandist", Historical Journal of Film, Radio and Television, "Helene Bertha Amalie "Leni" Riefenstahl (August 22 1902 – September 8 2003)", "Salem Senior Loughry Could Be World's Oldest Female Scuba Diver", "Jodie Foster film about Hitler aide angers Jews", "Weeds Episode Scripts N/A – It's Time (Part 1)", "Interview: Kristina Klebe (Hellboy, Slay Belles, Halloween)", Hutchins Center for African and African American Research, "Before Steven Speilberg there Was Leni Riefenstahl! Leni Riefenstahl, the woman who made Adolf Hitler's propaganda films, died in Germany. [9] Even so, Riefenstahl was granted Sudanese citizenship for her services to the country, becoming the first foreigner to receive a Sudanese passport. Riefenstahl's filming merits are discussed between characters in the 2009 Quentin Tarantino film Inglourious Basterds. Please check your inbox to confirm. [9] Although Riefenstahl lived for almost another half century, Tiefland was her last feature film. Adolf Hitler, Film Fanatic Nazi art never caught on, its architecture was unbuilt or destroyed, but its films were shot and seen by millions. [9] It was while going to a doctor's appointment that she first saw a poster for the 1924 film Mountain of Destiny. [86] Riefenstahl, who for some time had been working on her memoirs, decided to cooperate in the production of this documentary to tell her life story about the struggles she had gone through in her personal life, her film-making career and what people thought of her. In 1934, a year after becoming chancellor of Germany, Adolf Hitler flew to Nuremberg for a mass political rally. [16] Riefenstahl later received a package from Fanck containing the script of the 1926 film The Holy Mountain. Even when the carriers are not mostly submerged under the sea of colored cloth, and when facial features are visible in profile, they attain neither character nor distinctiveness. [56] They thought the film might symbolize the love-hate relationship between Germany and France. I was watching "Monday Night Football" last night, and the camera that moves down the sideline, we saw the same thing, the same shot of Hitler on the podium. Helene Bertha Amalie Riefenstahl was born in Berlin on 22 August 1902. [39] Riefenstahl maintained that Goebbels was upset when she rejected his advances and was jealous of her influence on Hitler, seeing her as an internal threat. She could have said no. In her long life after World War II, she was a photographer, a scuba diver, and wrote an autobiography. [45] Riefenstahl reportedly wanted Sharon Stone to play her rather than Foster. His wife, however, continued to support her daughter's passion. It is known today that many of them were murdered in concentration camps". But Adolf Hitler wanted his party to have full control over the country matters so he used his powers as chancellor to form a de facto legal dictatorship and started eliminating his political opposition. Nazism created an elaborate system of propaganda, which made use of the new technologies of the 20th century, including cinema. Film Estate of Hitler's filmmaker, Leni Riefenstahl, donated to Berlin foundation. She photographed the 1972 Olympic Games in Munich, and rock star Mick Jagger along with his wife Bianca for The Sunday Times. And she insisted that because she was so good, and because she was a woman, she got closed out of her profession. She later committed suicide. [48] However, her relationship with Hitler severely declined in 1944 after her brother died on the Russian Front. [71], In 1978, Riefenstahl published a book of her sub-aquatic photographs called Korallengärten ("Coral Gardens"), followed by the 1990 book Wunder unter Wasser ("Wonder under Water"). [9] Her mother was confident her daughter would grow up to be successful in the field of art and therefore gave her full support, unlike Riefenstahl's father, who was not interested in his daughter's artistic inclinations. [5] Describing the experience in her memoir, Riefenstahl wrote, "I had an almost apocalyptic vision that I was never able to forget. "[84], Critic Judith Thurman said in The New Yorker that, "Riefenstahl's genius has rarely been questioned, even by critics who despise the service to which she lent it. [5] Some have argued that Riefenstahl's visions were essential to the carrying out of the mission of the Holocaust. [45] The project did not receive Riefenstahl's approval prior to her death, as Riefenstahl asked for a veto on any scenes to which she did not agree. Why don't we play that? I like the forest of flags that seemed to be cheering for Hitler. [9] Since Riefenstahl was the only child for several years, Alfred wanted her to carry on the family name and secure the family fortune. [78] Riefenstahl died in her sleep at around 10:00 pm on 8 September 2003 at her home in Pöcking, Germany. She put her cameramen on train tracks and had them moving back and forth. For more, we're joined now by Claudia Koonz, a professor of German history at Duke University. Subscribe to Here’s the Deal, our politics newsletter for analysis you won’t find anywhere else. [36] Riefenstahl's work on Olympia has been cited as a major influence in modern sports photography. [62] She was also under house arrest for a period of time. Until the day I die people will keep saying, 'Leni is a Nazi', and I'll keep saying, 'But what did she do? [42] The flag serves as a symbol of masculinity, equated with national pride and dominance, that channels men's sexual and masculine energy. His distinctive image was often parodied by his opponents. [33] She visited Greece to take footage of the route of the inaugural torch relay and the games' original site at Olympia, where she was aided by Greek photographer Nelly's. [25] (When Tiefland was eventually shot, between 1940 and 1944, it was done in black and white, and was the third most expensive film produced during the Third Reich. The films were filmed simultaneously in English and German and produced and distributed by Universal Studios. Saunders writes, "Without denying that “rampant masculinity” (the “sexiness” of Hitler and the SS) serves as the object of the gaze, I would suggest that desire is also directed toward the feminine. The video for this story is not available, but you can still read the transcript below. Riefenstahl is one of the protagonists of the story "Parachute" from the collection Even This Wildest Hope (2019) by Seyward Goodhand. [53], In October 1944 the production of Tiefland moved to Barrandov Studios in Prague for interior filming. During the filming of Victory of Faith, Hitler had stood side by side with the leader of the Sturmabteilung (SA) Ernst Röhm, a man with whom he clearly had a close working relationship. Leni Riefenstahl didn't just show up in Nuremburg, she was trying to do something that was crafted image making. In one segment of a Nazi “Instructional” film (right), the genetic heritage of the Jew is purportedly traced to Oriental, Negro, Near Asian and Hamitic peoples. [5], Hitler was immediately captivated by Riefenstahl's work. By contrast and paradoxically, the flags, whether a few or hundreds peopling the frame, assume distinct identities".[42]. German dictator Adolf Hitler selected the dancer-turned-actress to be Nazi Germany's official filmmaker and gave her vast resources to make movies that idealized and glorified Nazism. [16] One of Fanck's films that brought Riefenstahl into the limelight was The White Hell of Pitz Palu of 1929, co-directed by G. W. 'Hitler's Filmmaker' Dies. It seemed as if the Earth's surface were spreading out in front of me, like a hemisphere that suddenly splits apart in the middle, spewing out an enormous jet of water, so powerful that it touched the sky and shook the earth". [80], When traveling to Hollywood, Riefenstahl was criticized by the Anti-Nazi League very harshly when wanting to showcase her film Olympia soon after its release. [5] The propaganda film was funded entirely by the NSDAP.[5]. "[63], Riefenstahl began a lifelong companionship with her cameraman Horst Kettner, who was 40 years her junior and assisted her with the photographs; they were together from the time she was 60 and he was 20. [93] To make her sympathetic portrayal acceptable to an American audience, the film dramatizes her quarrels with Goebbels over her direction of Olympia, especially about filming the African-American star who is proving to be a politically embarrassing refutation of Nazi Germany's claims of Aryan athletic supremacy. [28] She edited and dubbed the remaining material and Tiefland premiered on 11 February 1954 in Stuttgart. It is set during the Battle of Berlin in World War II, when Nazi Germany is on the verge of defeat, and depicts the final days of Adolf Hitler (portrayed by Bruno Ganz). [62] She won more than fifty libel cases against people accusing her of having previous knowledge regarding the Nazi party. Right. [54] As Germany's military situation became impossible by early 1945, Riefenstahl left Berlin and was hitchhiking with a group of men, trying to reach her mother, when she was taken into custody by American troops. It dogged her, depressed her for 20 years after the end of the Second World War. [24] It was considered lost until a copy turned up in the 1990s in the United Kingdom. Her involvement in Triumph des Willens, however, significantly damaged her career and reputation after World War II, due to the actions the Nazis committed in that conflict. [33][35] Riefenstahl filmed competitors of all races, including African-American Jesse Owens in what later became famous footage. Then you realize all you're seeing is glory, beauty and triumph, and you don't see the darker side. [49][10] On Hitler's direct order, the German government paid her seven million Reichsmarks in compensation. Lady Helene is later met face to face and she is seen to closely resemble Riefenstahl. [95][96], Riefenstahl appears in the 2019 film Hellboy portrayed again by Kristina Klebe.[95]. [25] Riefenstahl received private funding for the production of Tiefland, but the filming in Spain was derailed and the project was cancelled. [18] Nevertheless, by 5 October 1939, Riefenstahl was back in occupied Poland filming Hitler's victory parade in Warsaw. [62] Throughout 1945 to 1948, she was held by various Allied-controlled prison camps across Germany. [89], In 1998 Neue Deutsche Härte band Rammstein released a cover of the Depeche Mode song "Stripped", accompanied by a video incorporating footage from Olympia. She spent a lot of time trying to explain herself. In 1993, Riefenstahl was the subject of the award-winning German documentary film The Wonderful, Horrible Life of Leni Riefenstahl, directed by Ray Müller. Riefenstahl was a consummate stylist obsessed with bodies in motion, particularly those of dancers and athletes. She is described as fitting in with Hitler's ideal of Aryan womanhood, a feature he had noted when he saw her starring performance in Das Blaue Licht. [citation needed]. Before and during the Second World War, … [61] According to Schulberg, "She gave me the usual song and dance. [25] More than one million Germans participated in the rally. Where the film does combine diegetic noise with the music, the effects used are human (laughter or cheering) and offer a rhythmic extension to the music rather than a contrast to it. Film scholar Mark Cousins notes in his book The Story of Film that, "Next to Orson Welles and Alfred Hitchcock, Leni Riefenstahl was the most technically talented Western film maker of her era". In her dressing room she is "visited" by herself as a young woman portrayed by Valeria Kozhevnikova at three stages/turning points in her life: as a dancer (1924), an actress (1929) and a director (1940). She had a career behind her. [75][46], Riefenstahl celebrated her 101st birthday on 22 August 2003 at a hotel in Feldafing, on Lake Starnberg, Bavaria, near her home. [32], Hitler invited Riefenstahl to film the 1936 Summer Olympics scheduled to be held in Berlin, a film which Riefenstahl said had been commissioned by the International Olympic Committee. She wrote an autobiography, and then she dominated a film made about her life called "the wonderful horrible life of Leni Riefenstahl," in which she explained over and over again that she was apolitical. Adolf Hitler (20 April 1889 – 30 April 1945) was the leader of the National Socialist German Workers' Party and Chancellor of Nazi Germany from 1933 (Führer from 1934) to 1945. The film is also noted for its slow motion shots. [18] Photographs of a potentially distraught Riefenstahl survive from that day. Her distortion of sound suggests she was influenced by German art cinema. [29] The motion picture was generally recognized as an epic, innovative work of propaganda filmmaking. [12] She began to paint and write poetry at the age of four. Saunders continues, "The effect is a significant double transformation: the images mechanize human beings and breathe life into flags. [6] After the war, Riefenstahl was arrested, but classified as being a "fellow traveler" or "Nazi sympathizer" only and was not associated with war crimes. So that was the intention. The issues her films and her career raise are as complex and they are important, and her vilifiers tend to reduce the argument to one of a director's complicity in atrocity or her criminal ignorance".[64]. [23] Riefenstahl agreed to direct the movie even though she was only given a few days before the rally to prepare. How did she live out the rest of her days? After seeing a promotional poster for the 1924 film Mountain of Destiny, she was inspired to move into acting and between 1925 and 1929 starred in five successful motion pictures. [20], Despite allegedly vowing not to make any more films about the Nazi Party, Riefenstahl made the 28-minute Tag der Freiheit: Unsere Wehrmacht ("Day of Freedom: Our Armed Forces") about the German Army in 1935. Influenced by Classical Hollywood cinema's style, German art film employed music to enhance the narrative, establish a sense of grandeur, and to heighten the emotions in a scene. Absolutely. Leni Riefenstahl, the German filmmaker whose collaborations with Hitler were admired for their technical innovation and reviled for their role in glorifying the Nazi terror, died Monday at 101. While heralded by many as outstanding colour photographs, they were harshly criticized by Susan Sontag, who wrote in a review that they were further evidence of Riefenstahl's "fascist aesthetics". It is true she was not political. [9], On one of her adventures, Riefenstahl met Luis Trenker, an actor who had appeared in Mountain of Destiny. The interest that Adolf Hitler and his propaganda minister Joseph Goebbels took in film was not only the result of a personal fascination. [52] The German court ruled largely in favour of Gladitz, declaring that Riefenstahl had known the extras were from a concentration camp, but they also agreed that Riefenstahl had not been informed the Romani would be sent to Auschwitz after filming was completed. [90], Riefenstahl was referred to in the series finale of the television show Weeds when Nancy questions Andy for naming his daughter after a Nazi, to which he replied "she was a pioneer in film-making, I don't believe in holding grudges. [41] She negotiated with Louis B. Mayer, and on 8 December, Walt Disney brought her on a three-hour tour showing her the ongoing production of Fantasia. Riefenstahl became one of the few women in Germany to direct a film during the Weimar Period[4] when, in 1932, she decided to try directing with her own film, Das Blaue Licht ("The Blue Light"). [85], Pauline Kael, also a film reviewer employed for The New Yorker, called Triumph des Willens and Olympia, "the two greatest films ever directed by a woman". She was never an official member of the Nazi party but was always seen in association with the propaganda films she made during the Third Reich. [18][19] Upon its 1938 re-release, the names of Balázs and Sokal, both Jewish, were removed from the credits; some reports say this was at Riefenstahl's behest. [9] In 1918, when she was 16, Riefenstahl attended a presentation of Snow White which interested her deeply; it led her to want to be a dancer. [40], From the Goebbels Diaries, researchers learned that Riefenstahl had been friendly with Joseph Goebbels and his wife Magda, attending the opera with them and going to his parties. [46], Film scholar Mark Cousins notes in his book The Story of Film that, "Next to Orson Welles and Alfred Hitchcock, Leni Riefenstahl was the most technically talented Western film maker of her era". [52], This issue came up again in 2002, when Riefenstahl was 100 years old and she was taken to court by a Roma group for denying the Nazis had exterminated Romani. She saw herself as a documentary maker, not as a propagandist. You exceed anything human imagination has the power to conceive, achieving deeds without parallel in the history of mankind. [64], Writer Richard Corliss wrote in Time that he was "impressed by Riefenstahl's standing as a total auteur: producer, writer, director, editor and, in the fiction films, actress. The day after her birthday celebration, she became ill.[76], Riefenstahl had been suffering from cancer for some time, and her health rapidly deteriorated during the last weeks of her life. 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