Leni Riefenstahl - Wikipedia. Leni Riefenstahl. Leni Riefenstahl by Alexander Binder. Triumph des Willens - Film (Movie) Plot and Review. Triumph of the Will: The Image of the Third. Leni Riefenstahl, who did more than. German filmmaker Riefenstahl dies at. In the 1993 film, Miss Riefenstahl is seen visiting the site of the 1936. With Leni Riefenstahl, Marlene Dietrich, Walter Frentz, Joseph Goebbels. Leni Riefenstahl (1993) 8.1 /10. Want to share IMDb's rating on your own site? The wonderful, horrible life of Leni Riefenstahl. Leni Riefenstahl ( The Power of the Image: Leni Riefenstahl) (M. Horrible Life of Leni Riefenstahl, 1993. Horrible Life of Leni Riefenstahl (DE, 1993). The Power of Film Propaganda. Born. Helene Bertha Amalie Riefenstahl(1. August 1. 90. 2Berlin, German Empire. Died. 8 September 2. P. A talented swimmer and artist, she also became interested in dancing during her childhood, taking dancing lessons and performing across Europe. After seeing a promotional poster for the 1. Der Berg des Schicksals (. Between 1. 92. 5 and 1. In 1. 93. 2, Riefenstahl decided to try directing with her own film called Das Blaue Licht (. In the 1. 93. 0s, she directed Triumph des Willens (. Both movies are widely considered two of the most effective, and technically innovative, propaganda films ever made. Her involvement in Triumph des Willens, however, significantly damaged her career and reputation after the war. The exact nature of her relationship with Nazi Party leader Adolf Hitler remains a matter of debate, although a friendship is claimed to have existed. After the war, Riefenstahl was arrested, but classified as being a . Throughout her life, she denied having known about the Holocaust, and won nearly 5. Besides directing, Riefenstahl released an autobiography and wrote several books on the Nuba people. Riefenstahl died of cancer on 8 September 2. Munich Waldfriedhof. She was praised for her body of work following her death and remains one of the most acclaimed movie directors. Early life. Her father, Alfred Theodor Paul Riefenstahl. Since Riefenstahl was the only child for several years, Alfred wanted her to carry on the family name and secure the family fortune. Helene Bertha Amalie 'Leni' Riefenstahl (German. You exceed anything human imagination has the power to. In 1993, Riefenstahl was the subject of the award.However, her mother, Bertha Ida (Scherlach), who had been a part- time seamstress before her marriage, had faith in Riefenstahl and believed that her daughter's future was in show business. Riefenstahl had a younger brother, Heinz, who was killed at the age of 3. Eastern Front in Nazi Germany's war against the Soviet Union. Riefenstahl fell in love with the arts in her childhood. She began to paint and write poetry at the age of four. She was also athletic, and at the age of twelve joined a gymnastics and swimming club. 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. In 1. 91. 8, when she was 1. Riefenstahl attended a presentation of Snow White which interested her deeply; it led her to want to be a dancer. Her father instead wanted to provide his daughter with an education that could lead to a more dignified occupation. His wife, however, continued to support her daughter's passion. Without her father's knowledge, she enrolled Riefenstahl in dance and ballet classes at the Grimm- Reiter Dance School in Berlin, where she quickly became a star pupil. Dancing and acting careers. Riefenstahl often made almost 7. Reichmarks for each performance and was so captivated with dancing that she gave filmmaking no thought. She began to suffer foot injuries that led to knee surgery, threatening her dancing career. It was while going to a doctor's appointment that she first saw a poster for the 1. Der Berg des Schicksals (. She became inspired to go into movie making, and began visiting the cinema to see films and also attended film shows. On one of her adventures, Riefenstahl met Luis Trenker, who was an actor from Der Berg des Schicksals. At a meeting arranged by her friend Gunther Rahn, she met Arnold Fanck, the director of Der Berg des Schicksals and a pioneer of the mountain film genre. Fanck was working on a film in Berlin. After Riefenstahl told him how much she admired his work, she also convinced him of her acting skill. She persuaded him to feature her in one of his movies. Riefenstahl later received a package from Fanck containing the script of the 1. Der Heilige Berg (. She made a series of films for Fanck, where she learned from him acting and film editing techniques. One of Fanck's films that brought Riefenstahl into the limelight was Die Weisse H. Her fame spread to countries outside Germany. Riefenstahl produced and directed her own work called Das Blaue Licht (. 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. Upon its 1. 93. 8 re- release, the names of Bal. In the film, Riefenstahl played an innocent peasant girl who is hated by the villagers because they think she is diabolic and cast out. She is protected by a glowing mountain grotto. According to herself, Riefenstahl received invitations to travel to Hollywood to create films, but she refused them in favour of remaining in Germany with a boyfriend. The film attracted the attention of Hitler, who believed she epitomized the perfect German female. He saw talent in Riefenstahl and arranged a meeting. In 1. 93. 3, Riefenstahl appeared in the U. S.- German co- productions of the Arnold Fanck- directed, German- language SOS Eisberg and the Tay Garnett- directed, English- language SOS Iceberg. The movies were filmed simultaneously in English and German and produced and distributed by Universal Studios. Her role as an actress in SOS Iceberg was her only English language role in film. Directing career. Describing the experience in her memoir, Riefenstahl wrote, . 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. Riefenstahl agreed to direct the movie. She and Hitler got on well, forming a friendly relationship. The propaganda film was funded entirely by the NSDAP. More than one million Germans participated in the rally. 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 Hitler's favourite opera, Eugen d'Albert's Tiefland (. Riefenstahl received private funding for the production of Tiefland, but the filming in Spain was derailed and the project was cancelled. Hitler was able to convince her to film Triumph des Willens on the condition that she would not be required to make further films for the party, according to Riefenstahl. The motion picture was generally recognized as an epic, innovative work of propaganda filmmaking. The film took Riefenstahl's career to a new level and gave her further international recognition. In interviews for the 1. The Wonderful, Horrible Life of Leni Riefenstahl, Riefenstahl adamantly denied any deliberate attempt to create Nazi propaganda and said she was disgusted that Triumph des Willens was used in such a way. Despite allegedly vowing not to make any more films about the Nazi Party, Riefenstahl made the 2. Tag der Freiheit: Unsere Wehrmacht (. Like Der Sieg des Glaubens and Triumph des Willens, this was filmed at the annual Nazi Party rally at Nuremberg. Riefenstahl said this film was a sub- set of Der Sieg des Glaubens, added to mollify the German Army which felt it was not represented well in Triumph des Willens. Hitler invited Riefenstahl to film the 1. Summer Olympics scheduled to be held in Berlin, a film which Riefenstahl claimed had been commissioned by the International Olympic Committee. 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. This material became Olympia, a hugely successful film which has since been widely noted for its technical and aesthetic achievements. She was one of the first filmmakers to use tracking shots in a documentary. The film is also noted for its slow motion shots. Many of these shots were relatively unheard of at the time, but Leni. Its international debut led Riefenstahl to embark on an American publicity tour in an attempt to secure commercial release. In February 1. 93. Riefenstahl enthusiastically told a reporter for the Detroit News, . He truly is without fault, so simple and at the same time possessed of masculine strength. She arrived in New York City on 4 November 1. Kristallnacht (the . When news of the event reached the United States, Riefenstahl publicly defended Hitler. On 1. 8 November, she was received by Henry Ford in Detroit. Olympia was shown at the Chicago Engineers Club two days later. Avery Brundage, President of the International Olympic Committee, praised the film and held Riefenstahl in the highest regard. 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. 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. 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 therefore insisted his diary entries could not be trusted. By later accounts, Goebbels thought highly of Riefenstahl's filmmaking but was angered with what he saw as her overspending on the Nazi- provided filmmaking budgets. World War II. On 1. September, she was in the town of Ko. According to her memoir, Riefenstahl tried to intervene but a furious German soldier held her at gunpoint and threatened to shoot her on the spot. She claimed she did not realize the victims were Jews. Closeup photographs of a distraught Riefenstahl survive from that day. Nevertheless, by 5 October 1. Riefenstahl was back in occupied Poland filming Hitler's victory parade in Warsaw. Afterwards, she left Poland and chose not to make any more Nazi- related movies. You exceed anything human imagination has the power to conceive, achieving deeds without parallel in the history of mankind. How can we ever thank you? Riefenstahl was friends with Hitler for 1. Her relationship with Hitler severely declined in 1. Die Macht der Bilder: Leni Riefenstahl (1.
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