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(1902-2003)
German film director, supported the Nazis, a documentary film about the Nuremberg Nazi Party Congress, "Triumph of the Will" (1934) and a film about the Olympic Games in Berlin in 1936, "Olympia". Author of seven art paintings. In the mid 1920′s as an actress starred in films directed by A. Funk. Since 1970 engaged in photography: photo albums "Last Nubians" (1973), "People Kau" (1976), "Coral Gardens" (1978).
After the Second World War, many who collaborated with the Nazis were pardoned and forgiven - the director of the first feature film to glorify Nazism, a man who shot a documentary film about the bombing of Warsaw, an anti-Semite, the infamous painting "The Jew Suess. All they have successfully worked in postwar Germany, lived quietly in your cozy little world and died in the circle who adored their relatives. Only Leni Riefenstahl, who worked for the fascist regime of some eight years of almost seventy years of its activities, all remaining indictees, notorious, controversial figure who does not forgive.
The argument is simple: in the eyes of its advocates her talent expiate their guilt - Leni fell bad cards, but she could play with dignity, in the eyes of its opponents is Riefenstahl′s responsibility - having the nature of extraordinary talent, she used it in the service of the devil.
Maybe this woman is really "sold" his soul to the devil? .. Otherwise how can we explain this truly mefistofelevskuyu energy, which radiates until today Riefenstahl. Look at this photograph. How many years will you give this woman with the camera. Fifty? Sixty? Seventy? But Leni is ninety! Ten years ago, she said, hiding his age, was allowed to engage in scuba diving. Truly, something the devil is in its eternal youth ... It′s simply impossible - to be photographed under water to the society a huge slope in the eighth decade ...
And yet it is real, and her films, these monsters of art - this is another reality in which there is an age-old question - compatibility and evil genius, talent and conscience, duty and beauty. She, Leni, asked her the fact of existence of considerable mystery to mankind.
The daughter of a businessman who owned the company for the production of ventilation and heating equipment, Riefenstahl grew up in a typical well-fed among the German bourgeoisie of the century. However, excessively ambitious, bright, tenacious little girl stood out among their peers athletic, desire and ability to always be first and ... memorable blond beauty. Her early passion was theater, but especially Leni successes achieved in the dances.
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It is hard to imagine what a turmoil has plunged the step Riefenstahl′s fate. She always focused on victory, stubborn, not wanting to adapt to circumstances, was stopped by an absurd coincidence But this same "lady randomness" Leni led to the most important decision of her life. Seeing one of the "mountain" films Arnold Fank, it is "ill" the perfection of the superman, a romantic ideal. With its inherent bad faith and lack all sorts of complexes Leni goes to the director in Switzerland and soon became a leading actress of "rock" genre, who invented funk. She starred in seven of his films.
However, by 1932, finding that she worked hard enough on the "favorite" producer and is now itself in a position to realize their own creative ideas, Leni debuted as a director and also played a major role in his "mountain" film "Blue Light". This was the case when the student has surpassed his teacher. And in the first film she discovered that the demonic aura that distinguishes it. The fact that Funk was developed superficial - the theme of purpose and superpowers - have Riefenstahl became an allegorical meaning. Gore appeared before the audience as something extremely beautiful, but dangerous in possession of magic power to awaken the desire for self-assertion and yet to escape from the devastating human reflection of the human brotherhood of the brave. Riefenstahl has destined itself the role of a girl that looked like a gypsy, in the opinion of local residents associated with the evil spirit. But she UNTA able to get to the source of blue light, which became the symbol of an unattainable goal for the layman. Yuntu kills the surrounding prose, a blind rationalism of the beloved, benevolent citizen - that is what pushes the girl into the abyss.
She put five more "mountain" films and her spectacular energetic actress, of course, be noticed. When the American director Sternberg filmed in Berlin "Blue Angel" with Marlene Dietrich, he approached Riefenstahl and asked her to accompany him to Hollywood: "I can make you a big star."
But she was not destined to become Eliza Doolittle (the so-called herself Dietrich) with Professor Higgins - Sternberg.
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For the first time the voice of the future Fuhrer she heard in 1932. "At the very moment it seemed to me almost apocalyptic vision that I have not been able to forget. It seemed as if the earth′s surface stretches in front of me and suddenly the cracks in the middle and shoots out a huge fountain of water, so powerful that it reaches the sky and makes the earth tremble.
She was surprised, but, as in the Gothic novel, it is - a wonderful vision struck her seducer. Hitler saw the mystical dance in the movie is Leni Fank "Holy Mountain" and realized - this is the sverhzhenschina who invented it, he. Queen on the throne, beyond the reach of the masses. Idol. Myth. In other words, everything that so wanted to be Hitler himself, but that he is desperately short of artistic talent. She needed him, he seemed to feel her attraction to him, and they met ...
Leni still hides the fact that he knows today, any connoisseur of cinema: she began shooting propaganda films are not from the famous "Triumph of the Will" and a small strip "Victory of Faith", which tells about the first congress of the Nazis, and vosemnadtsatiminutnoy short films " ; Day of Freedom: Our Army ", and why, and why not another, was invited personally by Hitler as a" court "directed to the landmark film, designed to capture program Fuhrer′s speech. Riefenstahl was intended to create something new in the mass art of XX century - the image. And she created it. Clearly, "Triumph of the Will" - the best propaganda film of all time. Leni has worked to the last detail the cinematic techniques of human exposure. All the talent she has invested in a demonic instincts shameless manipulation of biological substance.
Thanks for visiting and daunting task - to play on the screen of the Nazi congress, it is primarily thought as to avoid monotony and boredom, and how to get the viewer to follow developments with the care with which man in the street watching detective or horror. " Implement the game plot? But it will be invented, artificial.
Riefenstahl has decided to rely on the dynamics and beauty. It forced the operators to learn roller skates, a documentary film before it was unaware of the moving camera. Everywhere were to be held Nazi activities, Leni told to lay rails on which, as the trams, traveled cameras. Even at the height of the flagpole 38 meters she ordered to strengthen the small lift to achieve optical effects. For filming the speeches of Hitler before Hitler Riefenstahl invented the circular track at the podium, the operator can capture a variety of perspectives persons living Fuhrer.
Defenders Riefenstahl compare our heroine with Eisenstein - they say, and both praised his art murderous regimes.
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In addition to innovations that have in abundance adorning their works Leni, her films carried titanic energy of its creator. There was something eerie in its possession, no victim could not stop her for a beautiful frame. And today it is justified: "In the work I do not care." She cites the example of a memorable confrontation with Hitler. When the film was already partially assembled and Leni was looking forward to what effect will cause the first shots - from the sea of clouds grows silhouette of the old Nuremberg - invited her to his Fuhrer. He expressed fears that the film might offend those who are not fully shown in him, and offered what seemed to him a very clever way. "I invite critical people in kinoatele. We will be in a row, and the camera slowly will pass before us. Thus, the merits of each will be awarded. This could be a prelude to the picture. And no one gets hurt. "
Leni interference in its design resulted in a fury. She shouted at the beloved leader, stamped her feet and knocked out did himself full freedom.
Perhaps, like bigotry and creates heroes, but it is doubtful to exercise it in such a delicate matter, as art. Well believe in ourselves, but we can not give their opponents no chance.
In 1936, Riefenstahl was the order of the International Olympic Committee at the film, describing the events of the Olympic Games in Berlin. This pattern in the two series has not escaped the Nazi aura, although formally it talks about sports. In 1950 Leni referred to the alleged neutrality of the film "Olympia", demanding to recognize the primacy of its artistic merit. However, every impartial spectator clear with what delight Riefenstahl and in this tape promotes fascist values - the beauty of the Aryan Nation, the worship leader. In 1938, when all Europe was already suffused with poison of fascism, the International Film Festival in Venice, Leni received for Olympia Grand Prix.
Success intoxicated Riefenstahl: in the first days of military action in Poland, she volunteered to take ambitious films about Hitler′s victory. But she could not withstand the horrors of war, inhuman treatment of prisoners and the Nazis retreated to the mountains of Switzerland.
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While Europe was bleeding under the heel of Hitler, Riefenstahl decided to "ignore" another film in the "mountain" theme. Completed in 1945, the band "Plain", for obvious reasons related to the long trials of the Nazi past Leni, came on the screen only in 1954. This work has created yet another scandal: Riefenstahl was accused of that as extras in a movie she rented a Roma from Nazi concentration camps.
In postwar biography of Leni, together with aggressive self-defense occur compassionate tone. She began to write, that suffers from chronic illness and forced to live literally on the injections. However, this image of little semi-invalid coincides with her own photographs of travels in Africa. Fleeing from the cruel reporters that their questions would drive her to a standstill, Riefenstahl left Europe. For a long time about her life were not known, but in the 1970 Riefenstahl was once again forced to talk about himself in connection with a beautiful photo album "Last Nubians", which tells about the dying African tribe.
Despite the years, Leni continues to declare the value of his youth. In terms of aesthetics of the album is faultless, but thought he was close to the Nazi films. Riefenstahl was pleased to note that he was in Africa in time, until the glorious Nubians did not have time depraved money, post and clothing. She cultivates wrestling fights Blacks, their teamwork, strength, not tainted by any moral considerations. Riefenstahl reviving fascist rhetoric, praising the unity of the Nubians, and worship them in front of the ancestral chief.
One of the creators of a documentary film about Leni Riefenstahl - Ray Muller - said: "Her talent was her tragedy ... She was blind, because she was possessed, all the time, like a laser beam, focused only on their work, without looking left or right ... But at a time, as then in Germany, a man must look to the sides and not be a simple laser beam. From this is no excuse, this responsibility, the burden it would have to be always. "
P.S. Leni Riefenstahl passed away Sept. 8, 2003.
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