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Riefenstahl and Fanck
Riefenstahl went on to star in many of Fanck ’ s mountain films as an athletic and adventurous young woman with a suggestive appeal ; she became an accomplished mountaineer during the winters of filming on mountains and learned filmmaking techniques.
He also co-directed with Arnold Fanck a mountain film entitled The White Hell of Pitz Palu ( 1929 ) starring Leni Riefenstahl.
The bergfilm genre was primarily the creation of director Arnold Fanck, and examples like The Holy Mountain ( 1926 ) and White Ecstasy ( 1931 ) are notable for the appearance of Austrian skiing legend Hannes Schneider and a young Leni Riefenstahl.
The young interpretive dancer Leni Riefenstahl was mesmerized by Fanck's fifth feature, Mountain of Destiny ( 1924 ) and successfully pursued Fanck and his star Luis Trenker, convincing them to make her the star of The Holy Mountain.
Fanck went on to produce the ski-chase White Ecstasy ( 1930 ) with Riefenstahl and legendary Austrian skier Hannes Schneider, then in turn served as Riefenstahl's editor on her 1932 film The Blue Light, which brought her to the attention of Adolf Hitler.

Riefenstahl and Olympic
In 1936, Hitler invited Riefenstahl to film the Olympic Games in Berlin, a film which Riefenstahl claimed had been commissioned by the International Olympic Committee.
Avery Brundage stated that it was " The greatest Olympic film ever made " and Riefenstahl left for Hollywood, where she was received by the German Consul Georg Gyssling, on 24 November.
Filmmaker Leni Riefenstahl, a favourite of Adolf Hitler, was commissioned by the German Olympic Committee to film the Games for $ 7 million.
* Olympia ( 1938 film ), by Leni Riefenstahl, documenting the Berlin-hosted Olympic Games

Riefenstahl and St
St. Anton was also the setting for the film " Der Weisse Rausch ", starring Leni Riefenstahl and local ski instructor Hannes Schneider.

Riefenstahl and .
Helene Bertha Amalie " Leni " Riefenstahl (; August 22, 1902 – September 8, 2003 ) was a German film director, actress and dancer widely noted for her aesthetics and innovations as a filmmaker.
Riefenstahl ’ s prominence in the Third Reich, along with her personal association with Adolf Hitler, destroyed her film career following Germany's defeat in World War II, after which she was arrested but released without any charges.
Triumph of the Will gave Riefenstahl instant and lasting international fame, as well as infamy.
Although she directed only eight films, just two of which received significant coverage outside of Germany, Riefenstahl was widely known all her life.
In the 1970s, Riefenstahl published her still photography of the Nuba tribes in Sudan in several books such as The Last of the Nuba.
Riefenstahl was born on August 22, 1902.
Riefenstahl gained a reputation on Berlin's dance circuit and she quickly moved into films.
Riefenstahl produced and directed her own work called Das Blaue Licht ( 1932 ), co-written by Carl Mayer and Béla Balázs.
In the film, Riefenstahl played a peasant girl who protected a glowing mountain grotto.
Riefenstahl took dancing lessons and attended dance academies from an early age and began her career as a self-styled and well-known interpretive dancer, traveling around Europe and working with director Max Reinhardt in a show funded by Jewish producer Harry Sokal.
Instead, Riefenstahl met Luis Trenker who had starred in Fanck's films, who wrote to the director about her.
Riefenstahl went on to have a prolific career as an actress in silent films.
SOS Iceberg was Riefenstahl ’ s only English-language film role as an actress.
Breaking from Fanck's style of setting realistic stories in fairytale mountain settings, Riefenstahl — working with leftist screen writers Béla Balázs and Carl Mayer — filmed Das Blaue Licht as a romantic, wholly mystical tale which she thought of as more fitting to the terrain.
She co-wrote, directed and starred in the film and produced it under the banner of her own company, Leni Riefenstahl Productions.
However, it was not universally well-received, for which Riefenstahl blamed the critics, many of them Jewish.
Upon its 1938 re-release, the names of co-writer Béla Balázs and producer Harry Sokal, both Jewish, were removed from the credits ; some reports claim this was at Riefenstahl ’ s behest.
Riefenstahl received invitations to travel to Hollywood to create films, but she refused the offers in order to stay in Germany with a boyfriend.
Riefenstahl heard candidate Adolf Hitler speak at a rally in 1932 and was mesmerized by his talent as a public speaker.
Describing the experience in her memoir, Riefenstahl wrote: " I had an almost apocalyptic vision that I was never able to forget.
According to the Daily Express of April 24, 1934, Leni Riefenstahl had read Mein Kampf during the making of her film The Blue Light.
Riefenstahl agreed to direct the movie after returning from filming a movie in Greenland.

Riefenstahl and where
Riefenstahl went on to make Nazi propaganda films and, post-war, subsequently lived in Africa where she continued film-making, but now of life in the African bush.

Riefenstahl and she
At first, according to Riefenstahl ’ s memoir, she resisted and did not want to create further Nazi films ; instead, she wanted to direct a feature film based on Hitler ’ s favourite opera, Eugen d ' Albert's Tiefland.
In interviews for the 1993 film The Wonderful, Horrible Life of Leni Riefenstahl, Riefenstahl adamantly denied any deliberate attempt to create pro-Nazi propaganda and said she was disgusted that Triumph of the Will was used in such a way.
However, Riefenstahl maintained that Goebbels was upset that she had rejected his advances and was jealous of her influence on Hitler, seeing her as an internal threat ; therefore, his diaries could not be trusted.
During the Invasion of Poland, Riefenstahl was photographed in Poland wearing a military uniform and a pistol on her belt in the company of German soldiers ; she had gone to the site of the battle as a war correspondent.
Riefenstahl was friends with Hitler for 12 years, and reports vary as to whether she ever had an intimate relationship with him.
After the Nuremberg rallies trilogy and Olympia, Riefenstahl began work on the movie she had tried and failed to direct once before, Tiefland.
To the end of her life, despite overwhelming evidence that concentration camp occupants had been forced to work on the movie unpaid, Riefenstahl continued to maintain all the film extras survived and that she had met them after the war.
This issue came up again in 2002, when Riefenstahl was one hundred years old and she was taken to court by a Roma group for denying the Nazis had exterminated gypsies.
The last time Riefenstahl saw Hitler was when she married Peter Jacob on March 21, 1944, shortly after she had introduced Jacob to Hitler in Kitzbühel, Austria.
As Germany ’ s military collapsed in the spring of 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.
Riefenstahl claimed she was not aware of the nature of the internment camps.
I'm not political .’” However, when Riefenstahl later claimed she had been forced to follow Goebbels ’ orders under threat of being sent to a concentration camp, Schulberg asked her why she should have been afraid if she did not know concentration camps existed.

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