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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.
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Riefenstahl and went
Riefenstahl went on to have a prolific career as an actress in silent films.
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.
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 on
Riefenstahl was born on August 22, 1902.
Riefenstahl gained a reputation on Berlin's dance circuit and she quickly moved into films.
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.
Riefenstahl ’ s work on Olympia has been cited as a major influence in modern sports photography.
Olympia was very successful in Germany after it premiered for Hitler ’ s 49th birthday in 1938, and its international debut led Riefenstahl to embark on an American publicity tour in an attempt to secure commercial release.
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.
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.
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.
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.
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.
According to Ernst Hanfstaengl, who was a close friend of Hitler throughout the later 1920s and early 1930s, Riefenstahl tried to begin a relationship with Hitler early on but was turned down by 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.
The German court found in favour of Gladitz, agreeing that Riefenstahl had known the extras were from a concentration camp, and they agreed with Riefenstahl on only one count ( finding that Riefenstahl had not informed the Gypsies that they would be sent to the Auschwitz camp after filming was completed ).
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.
Riefenstahl celebrated her 101st birthday on August 22, 2003 and married Horst Kettner.
Leni Riefenstahl died in her sleep on the late evening of September 8, 2003 at her home in Pöcking, Germany.
* Article on the relationship between Riefenstahl and Balazs
Since 1993, he has been Professor of German and Film Studies at the University of Colorado at Colorado Springs and has become particularly known for his influential scholarly work on Austrian author Alexander Lernet-Holenia, German filmmaker and photographer Leni Riefenstahl, and on Austrian and Central European film.
Riefenstahl and star
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.
Riefenstahl and many
However, it was not universally well-received, for which Riefenstahl blamed the critics, many of them Jewish.
Riefenstahl tried many times ( 15 by her count ) to make films during the 1950s and 1960s but was met with resistance, public protests and sharp criticism.
While heralded by many as outstanding colour photographs, they were harshly criticized by Susan Sontag, who claimed in a review that they were further evidence of Riefenstahl ’ s “ fascist aesthetics ”.
His biography of the Nazi-associated filmmaker Leni: The Life and Work of Leni Riefenstahl ( 2007 ) overturns many of the claims Riefenstahl put forward in her self-defence regarding her contact with Hitler's regime, and was named by the New York Times as one of the most notable books of 2007.
Riefenstahl and Fanck
Riefenstahl accompanied Fanck to the 1928 Olympic Games in St. Moritz, where she became interested in athletic photography and filming.
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.
Riefenstahl and ’
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.
SOS Iceberg was Riefenstahl ’ s only English-language film role as an actress.
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 ’ s film of the 1934 Nazi party rally in Nuremberg
Impressed with Riefenstahl ’ s work, Hitler asked her to film the upcoming 1934 Party rally in Nuremberg, the sixth such rally.
Nevertheless, by October 5, 1939, Riefenstahl was back in occupied Poland filming Hitler ’ s victory parade in Warsaw.
50 stills from the filming in Krün near Mittenwald were later found and from these, surviving prisoners were able to identify 29 camp inmates who worked for Riefenstahl and were then deported to Auschwitz-Birkenau in the first weeks of March 1943 following Himmler ’ s December 1942 decree.
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.
Writer Budd Schulberg, assigned by the US Navy to the OSS for intelligence work while attached to John Ford ’ s documentary unit, was ordered to arrest Riefenstahl at her chalet in Kitzbühel, Austria, ostensibly to have her identify the faces of Nazi war criminals in German film footage captured by the Allied troops.
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.
Most of the negatives for Riefenstahl ’ s finished films and other production materials relating to her unfinished projects were lost towards the end of the war.
Another of Riefenstahl ’ s films, 1938 ’ s Olympia, was meant to prove that the Reichstag was a democratic and open society under Nazi rule.
Riefenstahl ’ s cinematic masterpiece, though temporarily effective propaganda, was unable to mitigate the growing awareness of the political realities in Nazi Germany.
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