Customer Reviews
Riefenstahl's Powerfully Cinematic Sensibilities Remain Noteworthy Despite the Controversial Subject 
2008-04-06
Before her death in 2003 at the age of 101, filmmaker Leni Riefenstahl would have you believe she had no affiliation with the Nazi party when she was asked by Adolf Hitler to document the momentous four days leading to the 1934 Nuremberg rally. However, it's obvious from her concurrently celebrated and reviled 1935 propaganda film that she was mesmerized by Hitler's oratorical skills judging from the dynamic way she has captured his undeniable charisma. She shows a remarkable deftness in editing techniques and camera movement and placement that remains the gold standard among documentarians. Riefenstahl succeeds in making Hitler a larger than life figure to the masses without resorting to editorial commentary to validate what is obvious from the images.
The film begins with Hitler's arrival in Nuremberg by personal aircraft where he is greeted by enthusiastic throngs of Nazi supporters. In fact, the first third of the film focuses primarily on civilian support of Fuehrer and then transitions to the opening of the Reich Party Congress where we see familiar historical figures, such as Rudolf Hess and Joseph Goebbels, speak. This leads to the third day of activity with rather unsettling shots of Hitler Youth as they prepare to greet Hitler from the rows of teepees in which they have camped. Her discriminating use of close-ups is most striking here when we see tow-headed Aryan boys hypnotized by Hitler's speech. The film ends with the startlingly choreographed rally with the famous shot of Hitler, flanked by Heinrich Himmler and Viktor Lutze, walking down an emptied aisle to place a wreath at a WWI memorial (a shot replicated by George Lucas at the end of the first Star Wars). The climax is designed to be celebratory as Hitler leads the masses toward unity under the Reich with his fanatical delivery.
Like D.W. Griffiths' The Birth of a Nation, it is difficult to defend the intended messaging behind such a trenchant film, yet it is criminal not to recognize the powerfully cinematic sense with which Riefenstahl imbues her work. The 2006 Special Edition Synapse DVD contains a good though not outstanding print transfer. However, there are two worthwhile extras - the extremely informative commentary track from historian Dr. Anthony R. Santoro (which I recommend you switch on immediately to fully appreciate the individual personalities and historical details behind the rally) and a short Riefenstahl made at the following year's rally to celebrate the Wehrmacht (the German army), "Day of Freedom". There is little use in attempting any sort of objectivity about this film as it was intended to evoke strong emotions with the sole goal of solidifying the Reich in a country still feeling weakened from WWI. In this respect, Riefenstahl succeeds admirably.
Springtime For Hitler 
2007-11-01
To write a review or to even discuss Leni Riefenstahl I think is a tricky subject. I don't have to tell most people she is a controversial figure. Yet most people struggle between throwing praise at her work while keeping in mind the content of her work. In a way it is relateable to her ideas that politics and film are seperate.
"Triumph of the Will" basically shows us a Nazi rally a year after Hitler and the National Socialist Party have taken power. And unless you have the volum turned off, I don't think it is terribily difficult to tell this man could cause lots of trouble.
But what about the way Riefenstahl films the rally. From the opening shot when the heavens bring us Hitler as a massive crowd awaits their leader, Reifenstahl hits home the idea of power within the party and the German people. And that's the most prevelent element in all of Riefenstahl's work. Strenght in numbers, discipline and youth. We get a lot of that in this documentary.
Is Riefenstahl right though that politics and film are two different things? In theory, yes. Film and politics are two different things but some would argue society inspires an artist. We are all products of our environment. Yet Riefenstahl says she was not a memeber of the Nazi party. She says her only intention was to make a good film. Was she really a Nazi? I have no way of knowing. She says she wasn't, so we can only take her at face value, although if not a Nazi, she was at the very least a Nazi sympathizer. And she was greatly impressed by Hitler. But how could she and so many other people not pick up on the dangers of the party? Just listen to Hitler's nationalist speeches, they reek of world domination. And this was years before the start of WW2.
Should you see the piece of Nazi propaganda though? There is definitely an element of historical curiosity to it. And it is well made, but, so what? I'm reminded of a line in "Annie Hall" when Woody Allen tries to take Diane Keaton to see "The Sorrow and the Pity". She tells him "I'm not in the mood to see a three hour documentary on the Nazis."
If you do chose to see this you will probably be interested to see some of her other work. None of them is quite as "good" as this. Assuming there is such a thing as "good Nazi propaganda". With "Triumph of the Will" we see her growth as a director. Compare her work here to films such as "Victory of Faith" or "Day of Freedom". She really came into her own with this documentary. And I don't know if that is a good thing or bad.
Bottomon-line: Interesting documentary in a historical perspective but so what? Is it worth watching? Maybe. Ask yourself, "Am I in the mood for a two hour documentary on Nazis"?
See a beautiful film document as art 2007-08-24
Other reviews and endless, boring commentaries will tell you the history you probably already know about this film, so I will get on to the heart of the matter. In this beautifully conceived and executed piece of filmaking you will experience a phenomenon unknown to our own time: A people united, uplifted and bound together in a common enthusiasm for their future. Hope, joy and beauty expressed and then captured on film. It is sentimental; it remembers the dead of the great world war . . and it exhalts at the resurrection. The sometimes moving, sometimes stirring musical score is artfully set to a variety of expressive visuals, from spontaneous crowds of the every-man to choreography and movement of the camera, all created and assembled to give you a unique experience to linger with. The speeches by various dignitaries and officials may be sat through with curiosity, perhaps even patience, as we today will have to focus a little harder to understand them and what each is talking about. Forget the hopeless, corny nonesense which insists this film is propaganda. Simply enjoy, for a moment, what WE have not had since that time, in the post-war world of the west. We search for and are anxious to find for ourselves a union of happy, enthusiastic people. What you will see in this film is increasingly elusive for us today. You will enjoy the experience this film brings to you, whoever you are, wherever you are from; this was it's intention, and it will forever succeed.
Excellent Movie 2007-06-27
I am a huge WWII and civil war fan and this movie was an excellent portrayal of Hitler rising to power in Nuremberg. The movie is in German, but with English subtitles, but is still a very powerful work of history/propaganda.
The Big Lie 2007-06-21
Hitler's propaganda minister infamously said, "If you tell the Big Lie often enough, people will believe it."
TRIUMPH OF THE WILL is a terrifying look at the zenith of Nazi propaganda. In the future, propaganda would be well-used cinematically by the Soviets (and Michael Moore) but never as well as "Triumph of the Will". The opening vista in the clouds, soaring above the earth, gives Hitler an almost divine persona. The landing is accompanied by throngs of ordinary people who call out his name as though he was a long-lost relative. The motorcade past the old somber buildings reflects Germany's past , while the parade presents Germany's future. To see these rapt children, teens and older adults in the light of history is to see those whom Hitler would most cruelly betray. Seldom has such evil been presented as messianic. This is the power of mass media perverted and abused.
Students of history and of mass communication would do well to view why a free press is critical to a democratic republic like ours.
PUT YOURSELF IN THEIR SHOES!! 2008-06-07
This is the infamous documentary produced by Leni Riefenstahl of the 1934 Nazi Party rally in Nuremberg, Germany. Working with an unlimited budget, she created the almost perfect propaganda film to promote the Nazi Party in Germany. Fascinating today, just for the historical interest, it has been the model over the decades for others wanting to understand the power of propaganda film. It was a powerful influence in establishing Hitler as the messiah for Germany. It was shown in part or whole in every theater throughout Germany during WWII. Of course, today we see it thru the lens of history and the unspeakable evil that was committed by Hitler and his regime but the people watching in 1934 did not have that insight. At the very least, it is a powerful warning to those of us who have the benefit of history to be more discerning in our falling for those who would seek to use this same kind of propaganda to push a cause, no matter how noble or good it might seem and the Nazi Party certainly seemed to be a noble cause for the German people. Riefenstahl used 30 cameras and 120 technicians during the filming. Hitler was always filmed separately so he could be edited in and out of the crowd pictures for maximum manipulation of imagery and seduction of the mind. While it runs a little long and is a little repetitive in places, this is an amazing piece of history and very much worthwhile of your time. WWW.LUSREVIEWS.BLOGSPOT.COM
Triumph of the Will 
2008-05-26
This is one of the true masterpieces of propaganda and an outstanding example of cinematic manipulation. Leni Reifenstahl created a truly impressive record of the Nazi Party Congress in 1934 and preserved it for the world to watch for generations to come. It is fascinating to note, with the benefit of hindsight, how much is left unsaid but lurks menacingly below the surface. But what is said is rather mundane and adheres to the party line, which makes modern audiences wonder what all the cheering and "seig heils" were about. The film is subtitled so you can read all the words of the speeches and you may be surprised by how lame they sound today. It is with a knowledge of history that one can take this all in and appreciate what a tremendous sales job this film did for Adolph Hitler and his government. This edition of the film helps you out with an historical commentary track which will help people, especially younger audiences, understand why what they are watching had such a tremendous impact. It is fun to watch Reifenstahl's cameras rolling to capture every angle of the impressive procedures...the Nazi's were masters at staging massive events. Look for the camera mounted on a flag pole in the stadium and moving up and down to capture the scope of the ceremonies. Some of the speeches were staged for the camera and you can sometimes pick out where the material was intercut. Propaganda is rarily so effective and this masterwork is well worth watching if you are a student of history and the terrible period of World War II. I know that a warning to take this entire production and its moving images in context is not necessary but it is wise to keep in mind while you watch this film that this was a dangerous government building its power. These days we are used to a mass media assault by politicians but this was very new in 1934. Well worth watching, it also created and refined a standard for filming live events of this type. Reifenstahl spent the rest of her life being praised for her dramatic technique and apologizing for this work. She did several other films for the Nazi Party including the wonderful "Olympia", which contains somewhat less propaganda because the Americans won so many gold medals.
Problematic Genius 2008-05-04
To begin with, merely discussing this film in open society, or among those conversant with film history and theory, often serves as the beginning of arguments rivalled only by mentioning Birth of a Nation. Attempting to review the film can only compound the problem. So, one must look at Riefenstahl's film in light of what it intends to accomplish, and how effective it is in doing so. To answer the first question, any film that attempts to rationalize National Socialism is morally questionable, to say the least. However, did Riefenstahl know this at the time this film was made? The evidence would argue that she didn't. While she couldn't have been unaware of the anti-Jewish rhetoric of the Nazi party, she may very well have been unaware of the extremity of that political party's ethnic hatred. Riefenstahl was commissioned to produce a celluloid document that would contribute to the cultural standing of the Nazis, and she did exactly that in her depiction not only of Hitler as a "god" descending from the heavens to rescue Germany, but also through the sheer power of the sequences in which masses of soldiers move in exact synchronization. Through images pastoral and industrial in origin, Riefenstahl weaves a tapestry that, for the moment of viewing, comes within a hair's breadth of achieving what the Nazis desperately wanted: acceptance by the world outside Germany.
The cinematic accomplishment of Triumph of the Will can be noted by one barometer: The film was considered to be so effective in its method and argument that it was banned from exhibition in the U.S.A. during the Second World War. Now, Riefenstahl's film was not alone in receiving this distinction; many lesser, more heavy-handed (and offensive) films were also banned during wartime. However, one only has to look at two of the most popular films of all time to determine just how influential Triumph of the Will really is. In George Lucas' Star Wars (Episode IV, for the newbies), the entire sequence in which the heroes are awarded their medals is "appropriated" from Triumph of the Will, even down to the replication of Albert Speer's "Cathedral of Light" which was created around the stadium at Nuremburg using huge flood lights. Following that, Peter Jackson's The Lord of the Rings trilogy used Triumph of the Will as an obvious reference in the depiction of the mustering and marching of the Orc troops against the heroic defenders of Middle Earth.
So where does this leave us? Is this film the virtual capture of evil on film? Yes...and no. It is a fact beyond dispute that the Third Reich epitomized evil during the mid-20th century, and any form of media which attempts to argue on its behalf is tainted by such an association. However, it is unfair to penalize Leni Riefenstahl for doing exactly what she was directed to do. What many people seem to be unable to accept is that she was willing to bring all of her cinematic acumen to bear upon such a project. It is difficult to reconcile the director of Olympia with that of Triumph of the Will. However, one must constantly remind oneself of Riefenstahl's commitment, as a documentarist, to capture the moment which is occurring before her cameras. As such, she cannot be held accountable for the ultimate effect of Triumph of the Will; this is simply an example of a director doing a job a bit too well. Still, no-one should simply sit back and view this film without the guidance of history. To do so, to accept the arguments of the film's "stars" without question, would be to declare defeat in the face of an evil which should have been wiped from the face of the Earth decades ago.
In short, this film is an invaluable resource of technique. Morally, it is beyond redemption. This moral failing is not the fault of the director.
Good release at a reasonable price 2008-05-03
When I decided to purchase Triumph of the Will a few weeks ago, I saw that Amazon had two releases, this one and another that was much more costly. The descriptions weren't very helpful in distinguishing between the two releases.
I'm always leery of cheap releases of titles that are in the public domain, but I decided to take a chance on this one. I'm glad to report that I wasn't disappointed. I can't compare the two releases, but I can tell you that Synapse Films, which published this version, did a good job of it.
I haven't watched the entire DVD, but I immediately spot-checked it for quality.The digital restoration is decent and the commentary by Dr. Anthony Santoro is worthwhile, possibly even up to the standard that I have been accustomed to in Criterion Collection releases.
One quirk: The screen format is called windowboxed. Don't let this bother you. The original, of course, was shot in the then-standard 1.33:1 ratio. The opening titles of this release are reduced, so that you get the feeling that you are watching it in a movie theatre, but after the titles, the image fills out the entire standard-ratio TV screen.
A great documentary 2008-04-13
Leni Riefenstahl captured souls of the people participated in those events. Not knowing anything about history of Nazism before the Nueremberg congress nor after it - it would be difficult to understand what is the real spiritis movens of all that anonymous crowd and their 'dignitaries'. The most frightening thing to me in that movie is the youth naivety and innocence drowned into a surrealistic understanding of dignity and patriotism.
