January 30, 2007: XIV:3 TRIUMPH OF THE WILL/TRIUMPH DES WILLENS 1934 (110 minutes) Cast: Adolf Hitler, Max Amann, Martin Bormann, Walter Buch, Richard Walther Darré, Otto Dietrich, Sepp Dietrich, Hans Frank, Joseph Goebbels, Hermann Göring, Jakob Grimminger, Rudolf Hess, Reinhard Heydrich, Konstantin Hierl, Heinrich Himmler, Robert Ley, Viktor Lutze, Erich Raeder, Fritz Reinhardt, Alfred Rosenberg, Hjalmar Schacht, Franz Schwarz, Julius Streicher, Fritz Todt, Werner von Blomberg, Hans Georg von Friedeburg, Gerd von Rundstedt, Baldur von Schirach, Adolf Wagner, and The Soldiers of the SA, SS & Wehrmacht, The Hitlerjugend, plus other participants of the Party Rally and the citizens of Nüremberg Directed, produced, written and edited by Leni Riefenstahl Camera Sepp Allgeier, Karl Attenberger, Werner Bohne, Walter Frentz, Hans Karl Gottschalk, Werner Hundhausen, Herbert Kebelmann, Albert Kling, Franz Koch, Herbert Kutschbach, Paul Lieberenz, Richard Nickel, Walter Riml, Arthur von Schwertführer, Karl Vash (Vaß), Franz Weihmayr, Siegfried Weinmann, Karl Wellert Assistant Camera Sepp Ketterer, Wolfgang Hart, Peter Haller, Kurt Schulz, Eugen Oskar Bernhard, Richard Kandler, Hans Bühring, Richard Böhm, Erich Stoll, Josef Koch, Otto Jäger, August Beis, Hans Wittman, Wolfgang Müller, Hans (Heinz) Linke, Erich Küchler, Ernst Kunstmann, Erich Grohmann, Wilhelm Schmidt Special Camera/Effects Albert Kling (ærial photography) Svend Noldan (special effects) Fritz Brunsch (special effects) Hans Noack (special effects) Sets Albert Speer Bertha Helene (Leni) Amalie Riefenstahl was born sports experts rather than actors. Riefenstahl proved as August 22, 1902, in Berlin. She studied painting and good an athlete as a dancer and starred also in Fanck’s dance, was hired as a dancer by Max Reinhardt and Der Grosse Sprung (The Great Leap, 1927); Die by 24 had given solo dance concerts in many Weisse Hölle vom Piz Palü (The White Hell of Pitz European cities. In 1925 she made her film debut as Palu, 1929, co-directed with G.B. Pabst); Stürme über an actress in Der Heilige Berg (The Holy Mountain), dem Montblanc (Storm Over Mont Blanc, 1930); Der one of the Alpine mountain films of Dr. Arnold Weisse Rausch (The White Frenzy, 1931); and SOS Fanck, who stressed realism and usually hired winter Eisberg (S.O.S. Iceberg, 1933). technical innovation and accomplishment the Olympic In 1931 Riefenstahl established her own production films won first prize at the Venice Biennale and were company and wrote (with noted Hungarian film writer honored by the Olympic Committee in 1948. Béla Balázs), directed, produced and starred in Das Blaue Licht (The Blue Light, 1932) which won her the After the fall of the Third Reich, Riefenstahl was one silver medal at the Venice Biennale and drew Hitler’s of the few leading figures in the German film industry attention. He wanted her to film the 1933 Party rally to suffer for her past glorification of Nazism. She but Goebbels opposed her, arguing she was too young vigorously denied romantic involvement or political (31), too inexperienced and a woman. Without his complicity with Hitler and was formally cleared in assistance she shot several thousand feet of film which two judicial processes of being a Nazi. She published Hitler insisted be edited and released. This was Sieg photography books on the Nuba and Kau peoples of des Glaubens (Victory of Faith, 1933) which is lost. Africa and on underwater reefs. She published her Riefenstahl asserts her name did not appear in the memoirs in 1987 and is the subject of a 1994 credits. She complained to Hitler about Goebbels’ documentary entitled “The Wonderful, Horrible Life interference and Hitler ordered her to film the 1934 of Leni Riefenstahl.” rally. Because she hadn’t made a nonfiction film she sought the help of Walter Ruttman, director of the famous German documentary Berlin: The Symphony of a Great City (1927). He agreed to do a film prologue on the Nazi rise to power and she left for Spain to scout locations for Tiefland (finished in 1954), her next fiction project. She returned from Spain in mid August 1934 and had only two weeks to prepare for filming. Hitler had combined the offices of President and Chancellor on the August 2nd death of von Hindenburg. He presided over the sixth party rally held in Nürenberg from September 4th to 10th. Triumph of the Will (1935) is the film record of his gigantic display of party power, regarded as the most effective visual propaganda for Nazism ever made. A crew of 170 worked on the film including 18 cameramen, each with an assistant. Riefenstahl built tracks to move the cameras, installed an elevator on the flagpole to get high shots, and instructed her cameramen, who wore SA uniforms to blend in, to get JUDGMENTS OF Triumph of the Will moving active footage. Riefenstahl consciously constructed Hitler as a Messianic figure. The film won “blood-chilling” Frank Capra the German Film Prize of 1935, the gold medal at the Venice Biennale and the gold medal at the Paris “cinematically dazzling and ideologically vicious” World’s Fair in 1937. To satisfy the military who felt Richard Barsam passed over by the film and to stop Hitler from changing her opening sequence, she made Tag der “The historic event served as the set of a film which Freiheit–Unsere Wehrmacht (Day of Freedom–Our was then to assume the character of an authentic Armed Forces, 1935) a skillful assemblage of factual documentary.” Susan Sontag footage which lacks the thematic and psychological impact of Triumph of the Will. “The film is purely historical. I state precisely; it is film-verité. It reflects the truth that was then, in 1934, Olympia, a four-hour epic on the Berlin Olympic history. It is therefore a documentary. Not a Games followed, premiering on 20 April 1938 to propaganda film. Oh! I know very well what mark Hitler’s 49th birthday. Widely admired for propaganda is. That consists of recreating certain events in order to illustrate a thesis or, in the face of from “Editing Reality” Bruce Jackson and Diane certain events, to let one thing go in order to Christian. Visual Sociology, 9 (1), pp.62-74. 1994. accentuate another.” Leni Riefenstahl [bj] The reel thing “Triumph of the Will, like the antisemitic films Documentary films are created in an inverted produced in Germany in 1941 (Jew Suss, Der Ewige funnel of declining possibility. The filmmaker begins Jude) to encourage the Nazis to perpetrate the Final with the materials and subjects of the world, which are Solution with zeal and efficacy, is an indispensable infinite in scope. From that infinitude one selects a part of the Third Reich.” subject, then an approach. These decisions are in part “An outstanding mirror to the monstrosity of predicated on practical concerns: the amount of Nazi Germany. In its arresting visual power Triumph money determines the size of the crew, the amount of of the Will is a cinematic document of one of the most footage that can be purchased, shot, and processed, compelling subjects of our time, and yet, by its very the number of location and editing days, the essence, it is a demonstration of extreme falsehood in sophistication of the sound mix. Thousands of the service of extreme evil.” Ilan Avisar microdecisions are made for aesthetic reasons, technical reasons, weather reasons, background noise “Leni Riefenstahl’s Triumph des Willens is one of the reasons, time-to-go-to-dinner-now reasons, access and greatest achievements, perhaps the most brilliant of all permission reasons, sore back and feet reasons. Every in the history of film propaganda. It is a magnificently decision forecloses others and the possibilities become controlled work of art, and, at the same time, a ever narrower. documentary on an event captured in all of its In films based on real-time events, filmmakers immediacy.” Leif Furhammar & Folke Isaksson are limited by the arrow of time: they return from the field with a fixed amount of data, a fixed world of “Triumph of the Will is a failed propaganda film. possibility: so many feet of exposed film and Although Hitler liked the film, in Nazi Germany it audiotape. (They can go back and do pickups, but it’s was not successful with the general public and was never the same, and that just changes the moment at not used very widely as propaganda.” Ilan Avisar which the world of possibility is fixed, not the fact or limitation of it.). They may manipulate those images “A sympathetic documentary of a propaganda event.” and sounds, but they will have no other images to do Richard Corliss things with.... The real thing The key fact missed most often by social scientists utilizing documentary films for data, is this: documentary films are not found or reported things; they’re made things. They differ from fiction films in that they bring with them questions of accuracy linked to an external reality....We need to remember that documentaries don’t document just an event; they also document the perception of an event, and that perception is enacted in the film itself. That double documentary aspect is what permits multiple documentaries to be made about the same event or person and for each to have validity and utility. Right and wrong exist somewhere else..... The only reality of a film is the reality of the film you see. The reality you see depends on some measure on who you are and what you know, on what codes you can read. The reality the film is about is in another plane entirely. This is as true for the most complex documentary as the simplest and most direct news footage. transcendent epic of the party, their people, their [dc] History and Film Führer.