Triumph of the Will
A Critical Examination of Nazi Cinema and Propaganda.
Film Overview ๐ Production Details โ๏ธDive in with Flashcard Learning!
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Synopsis
Historical Context
Triumph of the Will (German: Triumph des Willens) is a 1935 German propaganda film directed, produced, edited, and co-written by Leni Riefenstahl. Commissioned by Adolf Hitler, who served as unofficial executive producer, the film documents the 1934 Nazi Party Congress in Nuremberg, attended by over 700,000 supporters.[1] It captures speeches by Nazi leaders, including Hitler and Rudolf Hess, alongside footage of massed SA and SS troops and public reactions, thematically focusing on Germany's resurgence as a great power under Hitler's leadership. Notably, the film was produced after the Night of the Long Knives, resulting in the absence of many formerly prominent SA members.
Cinematic Narrative
The film opens with a prologue establishing the date (September 5, 1934) and the time elapsed since World War I and the Treaty of Versailles, culminating in Hitler's arrival in Nuremberg. The narrative unfolds across four days:
- Day 1: Depicts Hitler's arrival via airplane, his reception by enthusiastic crowds, and initial rallies.
- Day 2: Features the opening ceremony of the Reich Party Congress, speeches by key figures like Joseph Goebbels, and a large rally for the Reich Labor Service.
- Day 3: Showcases a Hitler Youth rally and a military review, followed by Hitler's address emphasizing discipline and sacrifice.
- Day 4: Culminates in a massive parade of SA and SS troops, Hitler's review of the formations, speeches addressing the recent SA purge, the consecration of new party flags, and Hitler's closing address declaring the unity of party and state.
Riefenstahl's Techniques
Riefenstahl's innovative techniques, including moving cameras, aerial photography, the strategic use of long-focus lenses to manipulate perspective, and a revolutionary approach to music and cinematography, garnered significant recognition. These elements contributed to the film's artistic merit and its effectiveness as propaganda, earning awards in Germany, France, and Italy.[2]
Production Context
Genesis and Commission
Leni Riefenstahl, already known for her 1932 film Das blaue Licht, was commissioned by Hitler in 1933 to direct a film about the annual Nazi Party Rally. This followed her earlier work on Der Sieg des Glaubens (The Victory of Faith), which faced technical challenges and later became problematic for the Nazis due to the prominence of SA leader Ernst Rรถhm, who was executed shortly after. Hitler desired a film that was artistically satisfying to appeal beyond a purely political audience, emphasizing that propaganda should leave no room for doubt.[6][7]
Budget and Resources
While Riefenstahl claimed a nominal budget of approximately 280,000 RM, estimates suggest the actual cost reached 1 million RM. She received substantial financial support from the Nazi Party, facilitated through direct funding and construction projects for the rally. Riefenstahl maintained control over the project after Walter Ruttmann was removed, ultimately delivering Triumph of the Will, which was nearly twice the length of its predecessor.[19]
Collaboration and Staging
The production involved extensive preparations and cooperation from party members and high-ranking officials like Joseph Goebbels. Albert Speer, Hitler's architect, designed the Nuremberg set, and infrastructure like camera tracks was installed to facilitate Riefenstahl's vision. Speeches were sometimes re-enacted in a studio to improve audio quality. Susan Sontag argued that the rally itself was planned as a spectacular film, suggesting Riefenstahl's deep involvement in orchestrating the event for cinematic purposes.[21]
Filming Techniques
Technical Execution
Riefenstahl employed a large crew and advanced techniques for the era. Her team consisted of sixteen cameramen, each with an assistant, utilizing thirty cameras and four sound trucks. She shot an estimated 61 hours of footage, meticulously editing it down to the final two-hour film.[17][18] The film reused musical scores from The Victory of Faith, composed by Herbert Windt.
Aesthetic Choices
Riefenstahl's stylistic approach involved dramatic framing, dynamic camera movements (including aerial shots and tracking shots), and the use of specific lenses to create visual effects. The film's aesthetic was designed to convey grandeur, order, and the perceived strength of the Nazi movement, often juxtaposing massive crowd scenes with intimate shots of leaders.
Editing and Post-Production
Shaping the Narrative
The editing process involved significant input from Nazi leadership, including Hitler, Goebbels, and Hess, who visited Riefenstahl during the editing phase. Hitler himself suggested the final title, Triumph of the Will. Riefenstahl reduced the vast amount of footage (130,000 meters) to approximately 3,000 meters for the final cut, resulting in a film nearly twice the length of The Victory of Faith.[23]
Related Works
During filming, Riefenstahl was also committed to her project Tiefland. Walter von Reichenau's initial disappointment with the quality of military footage led Riefenstahl to later produce Day of Freedom: Our Armed Forces, focusing specifically on the military aspects of the 1935 rally.[24]
Reception and Impact
Domestic and International Response
Upon its release in March 1935, Triumph of the Will was approved by censors and premiered to significant commercial success, becoming one of the year's most profitable films. Hitler lauded it as an "incomparable glorification." Riefenstahl received prestigious awards, including the German Film Prize and medals at the Venice Biennale and the Paris World Exhibition.[25] While praised domestically, international reception was mixed, with some critics finding it tedious or repelled by its ideology. Film historian Val Williams noted its potential to win friends for the Nazis worldwide.[26]
Allied Counter-Propaganda
During World War II, the film significantly influenced Allied propaganda efforts. Frank Capra's Why We Fight series incorporated footage from Triumph of the Will, recontextualizing it to support the Allied cause. Capra described Triumph of the Will as a "psychological weapon" as lethal as bombs.[27] Allied short films, like General Adolph Takes Over (also known as Swinging the Lambeth Walk), used edited footage to satirize Nazi leaders, turning the film's imagery into a tool of ridicule.[28] Dylan Thomas also utilized footage in his propaganda piece These Are The Men to discredit Nazi leadership.[30]
Riefenstahl's Reputation
The film cemented Riefenstahl's international fame, with The Economist calling her the "greatest female filmmaker of the 20th century." However, this association permanently damaged her career. Post-war, she faced imprisonment and blacklisting. Despite her claims of artistic detachment, the film's powerful imagery continues to be analyzed for its aesthetic qualities and propagandistic intent.[31]
Accolades
Awards Received
Triumph of the Will garnered significant recognition during its time:
Ethical Considerations
Art vs. Propaganda Debate
Triumph of the Will is frequently discussed in the context of the relationship between art and propaganda, particularly concerning its promotion of an unethical regime. Riefenstahl defended the film as historical documentation ("cinรฉma vรฉritรฉ"), asserting her naivety regarding the Nazis' policies and claiming the film contained no antisemitic commentary, despite a veiled remark by Julius Streicher on racial purity.[37]
Critical Perspectives
Critics like Roger Ebert have debated the film's classification, acknowledging its technical brilliance while questioning its moral implications. Ebert later characterized the film as "terrible, paralyzingly dull, simpleminded, overlong," challenging the conventional view of its artistic merit.[39] Susan Sontag argued that Riefenstahl's deep involvement in planning the rally demonstrated her role as a propagandist, not merely an observer, contending that the film's "reality" was constructed to serve its image.[21] Conversely, Sontag also acknowledged the film's aesthetic power, suggesting its artistic qualities transcended pure propaganda, albeit uncomfortably.[40]
Influences and Legacy
Visual Impact
The film's striking visuals have left a lasting impression on filmmaking, providing many of the enduring images associated with the Nazi regime and its leader.[41] Its techniques influenced subsequent documentaries and cinematic works.
Continued Use and Parody
Excerpts were used in Erwin Leiser's 1960 documentary Mein Kampf, leading to copyright disputes.[42] The film's imagery was also repurposed for parody, notably in the British propaganda short Lambeth Walk โ Nazi Style, which humorously depicted Nazi figures dancing to a popular tune.[note 1] Charlie Chaplin's The Great Dictator and Frank Capra's Why We Fight series were also significantly inspired by Riefenstahl's work.[45][46]
Copyright Status
Legal Framework
Triumph of the Will remains under copyright, though often mistakenly considered public domain, leading to frequent unauthorized releases.[47] In Germany, copyright rights were transferred to the Federal Republic of Germany, administered by Transit-Film GmbH. Initial agreements stipulated Riefenstahl's approval for screenings and a share of revenues until 2004.[52]
US Copyright Restoration
In the United States, copyright was restored to Riefenstahl in 1996 under the Uruguay Round Agreements Act, although certain aspects of US copyright remain complex.[54]
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References
References
- https://www.schnittberichte.com/svds.php?Page=IndexDocs&ID=62943&idid=2567
- "Nazis Hold Lambeth Walk is 'Animalistic Hopping'", The New York Times January 8, 1939, p. 26
- Rollins, Peter C (ed.). (2003) รขยยIndoctrination and Propaganda, 1942รขยย1945รขยย The Columbia companion to American history on film: How the movies have portrayed the American past. Columbia University Press. pp. 118.
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Disclaimer
Important Notice
This page provides an analytical overview of the historical film Triumph of the Will, based on information from Wikipedia. The content is intended for educational and informational purposes, examining the film's production, techniques, reception, and ethical considerations within its historical context.
This is not an endorsement or validation of the film's subject matter or its creators' ideologies. The analysis focuses on the film as a significant, albeit controversial, piece of cinematic history and propaganda. Users are encouraged to consult primary sources and scholarly analyses for a comprehensive understanding.
The creators of this page are not responsible for any interpretations or actions taken based on the information provided herein.