RIEFENSTHAL, Leni

پنجشنبه 24 بهمن 1398
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Riefensthal, Leni (owner Helene Bertha Amalie)

German director, actress and producer, born in Berlin on August 22, 1902 and died and Pöcking (Bavaria) on September 8, 2003. Former dancer and performer of dark Nordic tales and Bergfilme (mountain film) of great popular success, she became the most famous German director of the thirties, visionary prophetess of the chilling and funeral rationality of Nazism and the Olympic beauty of man. In 1938 his Olympia, a long documentary on the Berlin Olympics, won the Mussolini Cup at the Venice Film Festival. Overwhelmed by the post-war controversy over the role played in the Third Reich years, she was no longer able to direct a film, dedicating herself to photography and finding that sculptural beauty she had always sought from the most distant and mysterious African peoples. Discussed and idolized,

Alfred's daughter, owner of a heating system company, studied painting at the Kunstgewerbeschule in Berlin and dance, following the courses of E. Eduardova, J. Klamt and M. Wigman. Since she was a girl, she had the ambition to become a dancer, and her father, initially strongly opposed to her vocation, finally gave her consent. It began in 1923, immediately establishing itself as a promise of the new dance; supported by Max Reinhardt, who allowed her to perform in her theater, aroused great enthusiasm during the subsequent European tour. Arnold Fanck then offered her the role of the protagonist Diotima in the film Der heilige Berg (1926; The mountain of love), alongside Luis Trenker: in the long prologue she performed in the Dance on the shore of the sea, which she choreographed herself. Thanks also to her enthusiasm as a reckless skier and mountaineer, always directed by Fanck, she played several mountain films: between frozen backgrounds, avalanches and the blinding whiteness of the snows, she showed some grace as an actress, and an intense face, illuminated by a strong-willed gaze ( Der grosse Sprung, 1927; Die weisse Hölle vom Piz Palü, 1929, The tragedy of Pizzo Palù, to whose direction Georg W. Pabst collaborated; Stürme über dem Montblanc, 1930, Storms on Mont Blanc; Der weisse Rausch, 1931, White drunkenness ; SOS Eisberg, 1933, SOS iceberg, shot in Greenland amid a thousand difficulties). In the meantime, however, he had directed, interpreted and produced his first film, Das blaue Licht (1932; La bella maledetta), whose screenplay, based on an idea by R. herself, was written by Béla Balász. It is a fairy tale of the Dolomite environment, between folklore and romanticism, influenced by expressionist cinema. As a director, R. revealed a surprising figurative maturity, a rare luministic ability and a taste, sometimes heavy, for symbolism and allegory faded in a mythical-patriotic key. Struck by a speech by A. Hitler at Sportpalast in 1932, she insisted on getting to know him: Hitler proved to be his most staunch admirer and would become his producer. In August 1933 he entrusted her with the task of resuming the first congress of the National Socialist Party in Nuremberg after the conquest of power. The documentary Der Sieg des Glaubens (1933), born after a thousand controversies with the minister for culture and propaganda PJ Goebbels, was the general rehearsal for the propaganda film Triumph des Willens (1935; The triumph of the will), on the 1934 congress in Nuremberg. This time the director obtained great deployment of means and total control over the project, with the ambition to create not a newsreel nor the chronicle of an event, but an art and avant-garde film. He thus created the only true product of Nazi aesthetics: with a very refined photographic technique (he used twenty operators and as many cameras) and a rhythmic, almost musical montage, with a color palette of blacks and browns, he showed the chilling creation of consensus, the spectacular scenography by Albert Speer, the geometric marches of the delegates, the speeches of the political leaders, the exalted faces, the flags, the sinister choreography of the masses. Enthusiastic about her work, Hitler commissioned her to make a film about the army (Tag der Freiheit! - Unsere Wehrmacht, 1935) and then one on the Olympics that would be held in Berlin in 1936. Also in this case, R. gained total control of the shooting and was able to experiment with every type of technique, from filters to intensify contrasts to slow , from new lenses to unusual camera angles (even placed underwater or in the air, hooked to a balloon). Some sequences were again shot and artistically recreated in the empty stage. The endless material collected by R. and its 45 operators during sports events (400,000 meters of film for a total of 200 hours) was subjected to an endless work of assembly, stylization and abstraction. The result was Olympia, a two-part film, Fest der Völker (Olympia) and Fest der Schönheit (Apotheosis of Olympia), and lasting 4 hours, who wanted to be a celebration of the myth of the Aryan race as well as a documentary about a sporting event. Instead, it is essentially a visual poem on the beauty of man, aestheticizing, neoclassical, lyrical and hypnotic, with many emphatic falls of taste (such as the heavy prologue) but also sequences that have become classics in the history of cinema (just think of the competition of diving, horse racing or marathon). In 1940, after the project of a film about Eleonora Duse and another on V. Van Gogh, stopped and in 1939 due to the war the project on Penthesilea, from the tragedy of H. von Kleist, began shooting a film in Tiefland, a subject that has been longing for years, from the work of E. d'Albert, and hinges on the idyll between the Spanish Don Sebastian (Bernhard Minetti) and a gypsy. But the outbreak of war stopped filming. The film, completed later, was only released in 1954, at a time when its symbolism appeared now grotesque and dated.

In 1945 she was arrested by the Americans, then by the French, and charged with pro-Nazi activity; she spent nearly four years between prisons and detention camps, but the Allied tribunal ended up releasing her because, according to that ruling, her filmmaking activity had not led her to commit any crime. The past continued to pursue it: it went from trial to trial and from controversy to controversy; she was accused of having witnessed a massacre of civilians during the invasion of Poland, of having used Gypsies interned in a concentration camp for the shooting of her film Tiefland and even, in the diary of E. Braun published in 1948, of being was Hitler's mistress. He filed a lawsuit to prove that the diary was a fake written by Luis Trenker, and he won it. In the 1950s she devoted herself mainly to the reissue of her old films (with new sound and new editing), to the recovery of the films she shot in the 1930s and to a series of projects that did not materialize (including Die roten Teufel, to be shot in Italy with Vittorio De Sica, and Friedrich und Voltaire, written with and for Jean Cocteau). When she realized that she would never be able to make a film in Europe again, in 1956 Schwarze Fracht left to shoot Africa in the slave trade: the film was interrupted for lack of funds, but R. had discovered a continent. By now sixty, he left for a series of adventurous trips to Sudan, during which he photographed the rituals and dances of the remote Nuba tribe. The result was a series of highly suggestive photographic books (Die Nuba - Menschen wie von einem anderen Stern, 1973; Die Nuba von Kau, 1976). At the age of almost eighty he became underwater, and created a series of underwater images of pictorial and abstract beauty (Korallengärten, 1978). At eighty-five he wrote his memoirs (Memoiren, 1987; trad. It. Stretta nel tempo, 1999), at ninety he retraced his life for the documentary by Ray Muller Die Macht der Bilder: Leni Riefenstahl, also known as The wonderful, horrible life of Leni Riefenstahl (1993), telling each other with anger and bitter pride.

The autobiography reveals what it probably was: algid and passionate at the same time, object of the desire of the two most important men of the Nazi regime, Hitler and Goebbels, adamantine, passionate about politics and at the same time distant from the current world, called to cinema as to the only religion, of which, for better or for worse, she was the most fanatic priestess. BIBLIOGRAPHY

Olympia , in "Black and White", 1938, 9.

Puck, Leni Riefenstahl , in "Black and White", 1941, 109.

G. Sadoul, Hitler's cinema , in "Rivista del cinema italiano", 1954, 5-6.

GB Infield, Leni Riefenstahl: the fallen film goddess , New York 1976.

DB Hinton, The films of Leni Riefenstahl , Metuchen (NJ) 1978.

R. Berg-Pan, Leni Riefenstahl , Boston 1980.

S. Sontag, Leni Riefenstahl , in S. Sontag, Under the sign of Saturn , New York 1982.

L. Lent, Leni Riefenstahl , Florence 1985.

A. Salkeld, A portrait of Leni Riefenstahl , London 1997.

R. Rother, Leni Riefenstahl: die Verführung des Talents , Berlin 2000.


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