As I delve into the captivating narrative of Leni Riefenstahl’s life, I can’t help but feel a profound sense of both admiration and dismay. Her artistic genius is undeniable, yet her association with Nazism leaves an indelible stain on her legacy.
Leni Riefenstahl, who passed away in 2003 at the age of 101, continues to be searchable online as “Hitler’s preferred director” due to her groundbreaking documentaries such as The Triumph of the Will, which showcased the Nazi rally in Nuremberg in 1934, and Olympia, which focused on the Berlin Olympics of 1936. Both admired and criticized for her accomplishments – was she a visionary pioneer, a propagandist for Nazism, or perhaps both? – Riefenstahl remains a captivating topic of discussion and speculation about whether her artistic talent can be disentangled from her political beliefs.
The crux of the discussion revolves around Riefenstahl’s perspectives, her awareness about Hitler and the Holocaust, and when she became aware of it. This is a pivotal point that has been extensively explored in numerous books and documentaries. It forms the heart of the debate portrayed in Riefenstahl, the latest documentary by German director Andres Veiel (Black Box BRD)).
The documentary will be shown outside of competition at the Venice Film Festival, an event where Leni Riefenstahl received a gold medal for her film “The Triumph of the Will” in 1935 and won the Coppa Mussolini for best film with “Olympia” in 1938. International sales for “Riefenstahl” are being managed by Beta Cinema.
Veiel was granted permission to delve into Riefenstahl’s personal archives for the creation of his film, which included approximately 700 boxes filled with diaries, letters, private photographs, and taped phone conversations. Instead of rehashing familiar topics, this film aims to achieve something unprecedented in Riefenstahl documentaries: It seeks to offer a psychological sketch of the director, and, by extension, shed light on what Veiel refers to as the “alluring aspect” or “seductive nature” of fascism – not only the 1930s version but also contemporary forms.
Veil explains that what was discovered in her archives appeared strikingly modern and pertinent to current events, be it her perspective on heroic nationalism, her admiration for the powerful and triumphant, or her disdain for the weak and ill. This revelation provided a profound understanding of a prototype of fascism, offering insights into the growing right-wing movements not just in Germany, but across Europe, and even in the United States.
Veiel believes that the question about whether Riefenstahl genuinely held Nazi beliefs or was merely taking advantage of the situation has been resolved.
“Rather than being a seize-the-day artist, she was deeply entrenched in Nazi ideology. This wasn’t limited to her artistic expression, which glorified strength and heroism while showing disdain for the weak, the ill, and what she termed foreigners, but extended to genuine anti-Semitic views… We discovered an interview she gave to The Daily Express in 1934, where she stated that she had read Mein Kampf as early as 1931. ‘By the first page,’ she admitted, ‘I became an ardent National Socialist.’ A claim she vehemently denied throughout her life.”
In letters and phone conversations with friends and acquaintances, such as Hitler’s architect Albert Speer, post-war, Riefenstahl demonstrates no signs of remorse or change in her beliefs. Instead, she laments that her artistic style and the old ideology have become outdated.
Veiel remarks that she predicted it would take one or two generations to restore Nazi ideology in Germany, and now, as expected, we’re seeing a resurgence of the far-right after two generations have passed.
The film primarily explores the life of Riefenstahl following World War 2, when she was labeled a Nazi sympathizer by the Allies, despite her non-membership in the party. This label made it difficult for her to secure directorial work. Throughout the movie, it’s evident that Riefenstahl perceived herself as the wronged party. A significant moment occurs during a German talk show in the 1970s, where she faces accusations about her knowledge of the Holocaust. In this scene, Riefenstahl staunchly maintains her ignorance about the concentration camps until after the war had ended.
“At one instance, she addresses the crowd, and it’s significant to note that she was initially an actress, having starred in pre-war German films such as ‘The Blue Light’. With tears in her eyes, she embodies the quintessential victim, according to Sandra Maischberger, a producer on Reifenstahl and a renowned German TV host who interviewed her during her 100th birthday. This emotional display sparked an overwhelming response. Reifenstahl was flooded with letters and calls of support from viewers. This outpouring left Maischberger stunned. She questioned the collective consciousness of post-war Germany in the 60s and 70s, finding it hard to believe that so many could be swayed by her deceit.”
Veiel stated that there were approximately 500 letters from viewers, each one of which he read through. All these letters praised Leni Riefenstahl, and the talk show along with the audience’s reaction to it, triggered a revival for her, essentially a reemergence in post-war Germany. In essence, Leni Riefenstahl, as an artist, started receiving recognition again.
The celebration persisted, nearly until her passing. Notably, renowned film critic Pauline Kael deemed “Triumph of the Will” and “Olympia” as the two finest films ever directed by a woman. The first Telluride Film Festival in 1974 recognized Riefenstahl as a trailblazing feminist filmmaker and an inspiration for female directors. At various points, Jodie Foster, Paul Verhoeven, Steven Soderbergh, and Madonna all expressed interest in creating her biopic. (Reportedly, Riefenstahl told Verhoeven that she didn’t find Foster “beautiful enough to portray me,” instead suggesting he cast Sharon Stone.)
As a gamer, I’ve always been fascinated by the enigma that was Leni Riefenstahl, a figure whose cinematic genius is undeniable yet shrouded in controversy. For years, she stood firm, defending her narrative, building a legend around herself as an innocent visionary oblivious to the dark underbelly of Nazism. Ray Müller’s 1993 documentary, “The Wonderful, Horrible Life of Leni Riefenstahl,” was not only approved by her but also given creative control. This film, which won the International Emmy for best arts documentary, is a testament to her influence. Veiel’s film includes excerpts from “The Wonderful, Horrible Life,” including previously unseen footage of Müller’s interviews. During these sessions, when faced with questions that made her uncomfortable, Riefenstahl would object and even yell for the cameras to stop rolling.
If someone questioned her account of events, as demonstrated by Riefenstahl, she was just as swift at taking legal action. In 2002, a year before her death, Riefenstahl initiated a lawsuit against documentarian Nina Gladitz to halt the release of Gladitz’s documentary titled “Time of Darkness and Silence.” This TV documentary included interviews with Roma and Sinti who served as extras in Riefenstahl’s film adaptation of Hitler’s preferred opera, “Lowlands,” which she started working on in 1940 and completed in 1954. Remarkably, Riefenstahl herself selected the extras from a nearby concentration camp. Years later, she would assert that they all survived the war. However, it was discovered that close to 100 of them were either gassed in Auschwitz or believed to have perished, a fraction of the Romani people who were tragically murdered during the Holocaust.
During the courtroom viewing of Gladitz’s documentary, Riefenstahl interrupted, shouting “Deceptions! Deceptions!” Yet, upon confrontation with the facts, she retracted her initial assertions. However, since Gladitz couldn’t verify one statement – that Riefenstahl had personally pledged to safeguard the Sinti from the camps – and because he refused to excise that interview from his film “Time of Darkness and Silence“, the movie was never broadcast.
According to Veiel, she was aware of Auschwitz and the fact that the Romani extras were murdered, yet she consistently denied this truth throughout her life. This denial was a confusing blend of suppressing the knowledge, refusing to acknowledge it, and outright deceit.
Through crafting a psychological sketch of Germany’s notorious propagandist, Riefenstahl, Veiel aims to offer a glimpse into the persistent, chilling allure of fascism that continues to endure.
“It’s a story about how easy it is to get seduced,” he says, “because there are elements of her story that sound like a dream for any filmmaker: Imagine getting an unlimited budget to make your movie! I can imagine the appeal. I have to think of my father, who was a general in the war. He was close to [Nazi SS leader Heinrich] Himmler in the Russian front and had a lot of advantages. He was seduced. So this is a very personal question that I have to wrestle with.”
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2024-08-29 08:25