Jami Patton Essay Assignment #1
German Women Filmmakers
Dr. Elaine Martin

"The Wonderful, Horrible Life of Leni Riefenstahl"

Leni Riefenstahl is considered the most innovative filmmaker of the Nazi era. In her films, she embodied the National Socialists aesthetic theory and put forth novel inventions, such as the use of filters to enhance the visual effects of the black/white cinematic form. The documentary, "The Wonderful, Horrible Life of Leni Riefenstahl" traces the career of the actress and director from before World War II until the present. The director, Ray Müller, presents the vibrant Riefenstahl by exploring the highs and lows of her career. It allows insight into this dynamic woman through personal interviews and candid camera shots. Through his examination of her complex character, he reveals the duality of her will. The aspect that dominates in this film is the role the artist should play in his/her creation, in other words, the responsibility of the artist. In Riefenstahl's case, it is the continuing debate over whether or not she uses fascist aesthetics in her work or is she simply an artist fascinated with the beauty of the human figure.  

Riefenstahl's cinematic career began in the early 1920's, when she worked in alpine films directed by Arnold Fanck, her mentor. In these films, she is presented as the outcast or beautiful woman in distress. These films are significant because they ignited her passion for the world of cinema. She overcame physical obstacles and transcended   'r herself as a champion of the terr in. Her muscular physique and beautiful features we e I ) al I i characteristically German. The mountains can be seen as a type of release, a freedom.    

They represent "unlimited aspiration toward the high mystic goal, both beautiful and terrifying, which was later to become concrete in Fiihrerworship" (Sontag, 23). The training she received behind the camera in these films proved to be the most vital to her success. Her film, "Das Blaue Licht" attracted the attention of Hitler, and he commissioned her to film the 1933 Nazi party congress in Nuremberg. It proved disastrous because it lacked Riefenstahl's perfection, which set her apart from other filmmakers; however, she was given a second chance the following year at the 1934 party congress in Nuremberg. This project would prove to be her greatest triumph and worst failure.  

The Nazi aesthetic theory of art included a love of traditional themes and representational art, but detested modem art, labeling it "degenerate." They believed art to be representative of the race; thus, demanding a glorification of the human body. Riefenstahl's two projects "Triumph of the Will" and "Olympia" represented these characteristics.

The debate over "Triumph of the Will" is whether or not it is political propaganda or an artistic documentary. Riefenstahl denies that it is propaganda, claiming that she was creating an artistic work, not a political one. She states the documentary was filmed around the party congress, instead of the party congress being staged for her film. She says the film is "history, pure history", but in her 1935 book on the making of the film, she states,

Her novel techniques in this film included: an encircling track around Hitler, the use of sixteen cameramen to give varying perspectives and linking shots between Hitler and the masses. These contrasting shots affirmed his superiority and made him appear as a type of deity. The constant marching is accompanied by Wagnerian opera, which further reiterates his authoritarianism. Riefenstahl claims, "Triumph of the Will" to be a rally about peace and politically "in tune with the times." The symbols of the military, the boots marching, men shouting, and the loss of individuality automatically discredit her claim the film was a rally of peace. When Müller questions her on these issues, she responds defensively with recited arguments, never hesitating to answer the questions. Perhaps, the most damaging evidence is her statement that she never took any pride in the film. This is contrasted at the end of the documentary when Müller captures her reviewing, "Triumph of the Will", she takes enormous pride in this film by pointing to the use of the camera and the varying perspectives she captivated on film. The main focus on this section of the documentary is how does one come to terms with one's role in evil, with the atrocities suffered by millions at the hands of the Nazis. In Riefenstahl's case, it is through denial. She states, "she no longer lives in the past" and that "art and politics are two different things, one has nothing to do with the other."

In "Olympia" the argument of the use of fascist aesthetics is again brought to the forefront. The most important invention in this film is the digging of pits, in order to film the athletes against the sky, once again achieving a god-like image. Fascist aesthetics include a celebration of the body and masculine strength. These are accomplished by her separate use of lighting on the male and female athletes. Women are seen as young and lovely, while the men are filmed using side angles to show their features. The athletes were transformed from ordinary mortals into sporting Gods.

In the 1960's, Riefenstahl focused her attention on the dark continent of Africa. Here, she studied and photographed a tribe called the Nuba. This tribe is unique because of the physical strength its members possess and the importance they place on the body as a spiritual outlet. "Wrestling provides much of what the search for wealth, power and status does for the individual in the West" (Sontag, 26). The Nuba cover themselves in ash symbolic of strength and beauty. They consider their bodies to be the most supreme art. These beliefs adhere to the fascist aesthetics of the celebration of the body and the emphasis on masculine strength. Riefenstahl chose a community where strength and dominance over the weaker man are recognized as the unification of their community life. This parallels the dictatorship of Hitler over the masses- therefore, reiterating the fascist aesthetic. (Sontag)

During the 1970's, Riefenstahl explored the life under the sea. At the age of seventy, she received her scuba diving license proving her lifelong vitality. In the realm of the sea, she transferred the splendor of the human body to the exotic marine life. Riefenstahl says, "underwater is where she is happiest." Perhaps, it is because the past still haunts her and her only salvation lies deep beneath, secluded from civilization. She goes on to say, "Death will be a blessed release."

This documentary on Leni Riefenstahl gives one insight into the passion that fueled such a controversial figure. One is left with mixed feelings over this woman and the role she played in promoting Nazism. Her definition of art complies with the fascist theory of art: the quest for physical perfection and dominance over the submissive. In the documentary, Leni states, "Hitler had two sides: a devil and its opposite." Perhaps, Ms. Riefenstahl possessed this trait as well, but is unable to acknowledge one.