レニ [DVD]
フォーマット | ドルビー |
コントリビュータ | レニ・リーフェンシュタール, レイ・ミュラー |
言語 | ドイツ語 |
稼働時間 | 3 時間 8 分 |
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商品の説明
レビュー
監督・脚本: レイ・ミュラー 出演: レニ・リーフェンシュタール
-- 内容(「CDジャーナル」データベースより)
登録情報
- アスペクト比 : 1.33:1
- メーカーにより製造中止になりました : いいえ
- 言語 : ドイツ語
- 梱包サイズ : 18.03 x 13.76 x 1.48 cm; 83.16 g
- EAN : 4988102848019
- 監督 : レイ・ミュラー
- メディア形式 : ドルビー
- 時間 : 3 時間 8 分
- 発売日 : 2002/11/22
- 出演 : レニ・リーフェンシュタール
- 字幕: : 日本語
- 言語 : ドイツ語 (Mono)
- 販売元 : パイオニアLDC
- ASIN : B00006S25P
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 128,884位DVD (DVDの売れ筋ランキングを見る)
- - 1,027位外国のドキュメンタリー映画
- カスタマーレビュー:
-
トップレビュー
上位レビュー、対象国: 日本
レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。
2005年12月14日に日本でレビュー済み
Amazonで購入
二十世紀現代史的にも、映画史的にも、あまりにも有名なリーフェンシュタール。実際に観ることができるのは、とりわけその監督作品に関しては、オリンピック映画を始め少数であり、今後もなかなか期待はできないところである。その失望を補う作品。制作者、レイ・ミュラーの見識と勇気に拍手するべきであろう。リーフェンシュタールの自伝はもちろん、必読であるが、この伝記を読んでから、この映像を見ると、二十世紀という時代の悲劇と、それに立ち向かった真の芸術家の偉業に、心から感動。このようなすばらしい映像作家が、自由に映画を撮ることができなかった悲劇に胸が痛む、これは必見の映像。
2008年10月11日に日本でレビュー済み
This film pretty much follows the book "Leni Riefenstahl-Five Lives: A Biography in Pictures" 336 pages Taschen (November 2000). I keep my copy sideways on the library shelf so as people enter they see Leni looking at them.
We follow Leni form her earliest mark on the world through many lives. I am in the process of collecting all her published films. This program makes a perfect supplement and also as a lens to help understands what we are viewing.
The film is quit long and you start to wonder if they were being quite selective of her works to wrap the documentary up properly.
Covered are:
The Sacred Mountain (1926)
The Big Leap (1927)
The White Hell of Pitz Pal' (1929)
The Blue Light (1929) first film we think of when we think Leni
S.O.S. Iceberg (1933)
Sieg Des Gkaubens (1933)
Triumph of the Will (1935)
You say hay did the forget Olympia? Then you realize that you only watched part 1. There are lots more to come:
Olympia (1938) as good of coverage as the film it's self
Tiefland (1954)
Then we get in to her later life in Nuba and under water.
The first have does have the extra treat of touring UFA this alone is worth the price.
The down side is that other than the narrator it is mostly in German; if it were not for sub titles I would be in trouble as I only picked up about a third of the conversation after two years of German.
Watching the film the second time you realize that it is also a how to make art films.
Leni Riefenstahl-Five Lives: A Biography in Pictures
We follow Leni form her earliest mark on the world through many lives. I am in the process of collecting all her published films. This program makes a perfect supplement and also as a lens to help understands what we are viewing.
The film is quit long and you start to wonder if they were being quite selective of her works to wrap the documentary up properly.
Covered are:
The Sacred Mountain (1926)
The Big Leap (1927)
The White Hell of Pitz Pal' (1929)
The Blue Light (1929) first film we think of when we think Leni
S.O.S. Iceberg (1933)
Sieg Des Gkaubens (1933)
Triumph of the Will (1935)
You say hay did the forget Olympia? Then you realize that you only watched part 1. There are lots more to come:
Olympia (1938) as good of coverage as the film it's self
Tiefland (1954)
Then we get in to her later life in Nuba and under water.
The first have does have the extra treat of touring UFA this alone is worth the price.
The down side is that other than the narrator it is mostly in German; if it were not for sub titles I would be in trouble as I only picked up about a third of the conversation after two years of German.
Watching the film the second time you realize that it is also a how to make art films.
Leni Riefenstahl-Five Lives: A Biography in Pictures
2011年7月30日に日本でレビュー済み
Amazonで購入
ナチスの党大会の記録映画を作るに至るまでの、レニの女優デビューのところから
語り始められています。
当時の映像と今の当時90歳のレニへのインタビューの映像が織り交ぜられ、
とても興味深かったです。
当初、なぜこんなところから写すんだと思っていたのですが、ここがあるから、
あそこがあったというのがよく分かります。
そして、ベルリンオリンピック。賞賛の嵐の中、ナチスドイツの敗北と同時に
逮捕されるレニ。
しかし、ナチスの党員でもなく、反ユダヤを標榜したことがあるわけでもなかったレニ。
結局、当時の同調者とされるにとどまりましたが、
意志の勝利が翼賛的であったとして、戦後、非難され続け、
映画を撮ることもできず、ひっそりと暮らした。
しかし、60歳のとき、アフリカを訪れ、ヌバを撮り始める。
そして。90歳。海中撮影を行い続ける。
この映画の撮影中も、バックの山がもっと大きく写るようにと撮影隊に指示するレニ。
ナチスだろうが、アフリカだろうが、海の中だろうが。
とにかく、技術を使った映像に心を砕かずにはいられなかったにすぎないのだと思った。
映像以外のことに対する無頓着さが責められることなのか否か。
原題では、何事も政治的なことと無関係ではいられないなか、単に純粋だったのだろうと思う。
語り始められています。
当時の映像と今の当時90歳のレニへのインタビューの映像が織り交ぜられ、
とても興味深かったです。
当初、なぜこんなところから写すんだと思っていたのですが、ここがあるから、
あそこがあったというのがよく分かります。
そして、ベルリンオリンピック。賞賛の嵐の中、ナチスドイツの敗北と同時に
逮捕されるレニ。
しかし、ナチスの党員でもなく、反ユダヤを標榜したことがあるわけでもなかったレニ。
結局、当時の同調者とされるにとどまりましたが、
意志の勝利が翼賛的であったとして、戦後、非難され続け、
映画を撮ることもできず、ひっそりと暮らした。
しかし、60歳のとき、アフリカを訪れ、ヌバを撮り始める。
そして。90歳。海中撮影を行い続ける。
この映画の撮影中も、バックの山がもっと大きく写るようにと撮影隊に指示するレニ。
ナチスだろうが、アフリカだろうが、海の中だろうが。
とにかく、技術を使った映像に心を砕かずにはいられなかったにすぎないのだと思った。
映像以外のことに対する無頓着さが責められることなのか否か。
原題では、何事も政治的なことと無関係ではいられないなか、単に純粋だったのだろうと思う。
2011年8月18日に日本でレビュー済み
インタヴュアーである監督レイ・ミュラーに一貫して見せる"頑固で負けず嫌いな女"の個性が際立ってます! "ナチス"への関わりについての再三の追求に対して、顔色を変え激しく反発する姿勢に、特に顕著に見て取れますね… そうかと思えば、自己の傑作『意志の勝利』や『オリンピア』のメイキングについて、得意げに嬉々として語る無邪気で子供の様な表情、60歳を過ぎて見出した『ヌバ』や何と70歳!を越えて挑戦する海底の世界について語る生き生きとした表情などなど、齢90歳とは見えないパワフルな"現役!"映像作家の姿に圧倒されてしまうインタヴューと、過去の彼女の作品の数々が巧みにブレンドされていて、"天才"レ二の時代に翻弄された波乱万丈の歩みが、3時間強の長尺(ちょっと長いかなぁ…)に興味深く描かれている力作です…
第2次大戦時中も敢えてドイツに留まりヒトラーのお気に入りだった事もあって、戦後は当然"ナチ・シンパ"を疑われ、政治的・個人的に大変辛い立場(非難中傷に耐え切れず自殺していても不思議じゃ無いくらい傷ついたはずなのに…)に立たされながらも、決して屈せずに自己の信念を曲げる事無く貫き通した強い精神に、ただただ驚嘆の一言…
30歳そこそこ"怖い物知らずの完全主義者"(ヒトラーやゲッペルス相手に一歩も引かず自己主張を通すところなど、いやはや何とも恐るべし"KY天然キャラ"だったのかも…)の彼女が、思想や政治的な信条などを超越(…そちらには全く関心が無かっただけなんでしょうね)して、ただひたすら純粋に己の納得の行く作品とするため"完璧を期するためだけに"妥協を一切許さず編み出した革新的なドキュメンタリー撮影技法の数々が、70年たった今や全世界"標準規格"として当たり前に普及使用されている事の凄さ… さらに独自の美的センスに基づいた芸術性溢れる見事なショットの数々や、魅惑的で陶酔感さえ覚える編集と音楽の巧みな使い方などが、彼女以降の映像作品に"教科書として"数多の模倣を生じる程の影響を与え続けてきた事実に、改めてレ二の傑出した才能を認識させられました…
第2次大戦時中も敢えてドイツに留まりヒトラーのお気に入りだった事もあって、戦後は当然"ナチ・シンパ"を疑われ、政治的・個人的に大変辛い立場(非難中傷に耐え切れず自殺していても不思議じゃ無いくらい傷ついたはずなのに…)に立たされながらも、決して屈せずに自己の信念を曲げる事無く貫き通した強い精神に、ただただ驚嘆の一言…
30歳そこそこ"怖い物知らずの完全主義者"(ヒトラーやゲッペルス相手に一歩も引かず自己主張を通すところなど、いやはや何とも恐るべし"KY天然キャラ"だったのかも…)の彼女が、思想や政治的な信条などを超越(…そちらには全く関心が無かっただけなんでしょうね)して、ただひたすら純粋に己の納得の行く作品とするため"完璧を期するためだけに"妥協を一切許さず編み出した革新的なドキュメンタリー撮影技法の数々が、70年たった今や全世界"標準規格"として当たり前に普及使用されている事の凄さ… さらに独自の美的センスに基づいた芸術性溢れる見事なショットの数々や、魅惑的で陶酔感さえ覚える編集と音楽の巧みな使い方などが、彼女以降の映像作品に"教科書として"数多の模倣を生じる程の影響を与え続けてきた事実に、改めてレ二の傑出した才能を認識させられました…
2007年2月26日に日本でレビュー済み
あまりの才能の故、時の権力者の寵愛を受け、はからずも体制のプロパガンダに手を貸してしまう悲劇。レニの生涯をこのように認識していたのですが、この映画を観て若干変わりました。
レニの映像美は才能というよりは努力の賜物です。大胆な発想とそれを実現するために惜しまない努力。オリンピックスタジアム全体を「映画のためのセット」に変えてしまうほどキャメラを設置し、膨大なフィルムと格闘する姿を目にすると、レニはつくづく映像職人なんだと痛感します。職人ゆえに政治的にはナイーブだったのか、当時のドイツ国民誰もがそうだったようにナチズムを信奉していたのか、その謎は永遠に解けることはないでしょう。ただ言えることは、レニの後、アーティストは権力と一線を画さなければならないという思想が定着したことです。
批判されても「死ぬわけにはいかない」と語る気丈さとは裏腹に、ヌバと海中に対象を向けていかざるを得ないレニに痛々しさを感じます。
レニの映像美は才能というよりは努力の賜物です。大胆な発想とそれを実現するために惜しまない努力。オリンピックスタジアム全体を「映画のためのセット」に変えてしまうほどキャメラを設置し、膨大なフィルムと格闘する姿を目にすると、レニはつくづく映像職人なんだと痛感します。職人ゆえに政治的にはナイーブだったのか、当時のドイツ国民誰もがそうだったようにナチズムを信奉していたのか、その謎は永遠に解けることはないでしょう。ただ言えることは、レニの後、アーティストは権力と一線を画さなければならないという思想が定着したことです。
批判されても「死ぬわけにはいかない」と語る気丈さとは裏腹に、ヌバと海中に対象を向けていかざるを得ないレニに痛々しさを感じます。
他の国からのトップレビュー
Jose
5つ星のうち5.0
Reni Riefenstahl in her own words
2017年5月31日にアメリカ合衆国でレビュー済みAmazonで購入
This documentary is a must if you want to learn more about Leni Riefenstahl. It captures her in a staunch performance of the role she chose to reinvent herself in after her association with Hitler and the Third Reich came back to bite her.
When I bought this DVD, I had heard of Riefenstahl but knew nothing about her, so I did not have any preconceived notions about her life or her work. As the documentary progressed, I got the sense that she was not being honest, particularly when professing ignorance about the actions of the Third Reich. Also, the way she defined her association with Hitler and other prominent Nazi figures sounded disingenuous. It seemed to me that “the lady protests too much,” and some of her explanations rang suspect, especially when you consider that at the time, she was a highly intelligent and savvy young woman, who was still sharp and alert—and with an enviable memory—even in her 90’s. Clearly, forgetfulness was not the issue here—revisionism definitely was.
I found Riefenstahl to be a complex and intriguing individual and this documentary wetted my appetite for more, so I bough her autobiography—Leni Riefenstahl: A Memoir, and three other biographies—Leni: The Life and Work of (Bach), L.R: A life (Trimborn), L.R.: The Seduction of Genius (Rother), her documentaries—Victory of Faith, Triumph of the Will, and Olympia, and four of her movies—The Holy Mountain, Tiefland, The Blue Light, and White Hell of Pitz Palu. This gave me a 365 degree perspective that allowed me to relate what Riefenstahl and her biographers had to say about her acting, dancing and filmmaking skills to the actual material itself.
I’m no expert, but her acting skills did not validate the hype, even less so for her “interpretative” modern dancing, which had novelty value back then. But were she unquestionably excelled in was her filmmaking abilities. She had an unerring eye for symbolism, composition and spectacular visuals—she was both creative and innovative, and can be rightfully credited for inventing and pioneering many techniques still used to this day. Regardless of how she may be perceived today, no one can deny that she was ahead of her time, particularly when you consider she was a woman competing in a male-centric world. We’ll never know what else she would have been capable of achieving if she had made different choices. At any rate, her legacy and reputation will be forever and inextricably intertwined with Hitler and the Third Reich—a sad example of “be careful what you wish for.”
When I bought this DVD, I had heard of Riefenstahl but knew nothing about her, so I did not have any preconceived notions about her life or her work. As the documentary progressed, I got the sense that she was not being honest, particularly when professing ignorance about the actions of the Third Reich. Also, the way she defined her association with Hitler and other prominent Nazi figures sounded disingenuous. It seemed to me that “the lady protests too much,” and some of her explanations rang suspect, especially when you consider that at the time, she was a highly intelligent and savvy young woman, who was still sharp and alert—and with an enviable memory—even in her 90’s. Clearly, forgetfulness was not the issue here—revisionism definitely was.
I found Riefenstahl to be a complex and intriguing individual and this documentary wetted my appetite for more, so I bough her autobiography—Leni Riefenstahl: A Memoir, and three other biographies—Leni: The Life and Work of (Bach), L.R: A life (Trimborn), L.R.: The Seduction of Genius (Rother), her documentaries—Victory of Faith, Triumph of the Will, and Olympia, and four of her movies—The Holy Mountain, Tiefland, The Blue Light, and White Hell of Pitz Palu. This gave me a 365 degree perspective that allowed me to relate what Riefenstahl and her biographers had to say about her acting, dancing and filmmaking skills to the actual material itself.
I’m no expert, but her acting skills did not validate the hype, even less so for her “interpretative” modern dancing, which had novelty value back then. But were she unquestionably excelled in was her filmmaking abilities. She had an unerring eye for symbolism, composition and spectacular visuals—she was both creative and innovative, and can be rightfully credited for inventing and pioneering many techniques still used to this day. Regardless of how she may be perceived today, no one can deny that she was ahead of her time, particularly when you consider she was a woman competing in a male-centric world. We’ll never know what else she would have been capable of achieving if she had made different choices. At any rate, her legacy and reputation will be forever and inextricably intertwined with Hitler and the Third Reich—a sad example of “be careful what you wish for.”
medicinehat
5つ星のうち5.0
A view of a very interesting and successful woman in a time of male dominated culture.
2017年2月23日にカナダでレビュー済みAmazonで購入
This is a very interesting documentary about the life and accomplishments of Leni Riefenstahl. It is a more "balanced" view of the movie star/director then some of the material about her that I have read.
The documentary does not take a position on her connection with Nazi Germany and the Holocaust. It catches Leni out on some of her evasions on the topic.
But, I believe that she was basically unpolitical. She does admit to a great admiration of Adolf Hitler. But, very few in Germany at the time, did not admire his leadership.
She was a woman in a very male dominated culture - especially in Germany between the wars. She was very ambitious and used whatever means got her the money and the opportunity to learn and produce her documentaries and movies. She used men to further her ambitions and did not always give her colleagues and partners credit for her productions. But, being a woman in a male domination "macho" culture, how else was she to further her ambitions? The documentary does not go into this, but it is implied in the historical record.
The documentary is particularly interesting in showing the immense contributions in developing the technology and techniques she made in film-making.
It shows her as a feisty lady who still loves and is proud of her accomplishments.
The documentary does not take a position on her connection with Nazi Germany and the Holocaust. It catches Leni out on some of her evasions on the topic.
But, I believe that she was basically unpolitical. She does admit to a great admiration of Adolf Hitler. But, very few in Germany at the time, did not admire his leadership.
She was a woman in a very male dominated culture - especially in Germany between the wars. She was very ambitious and used whatever means got her the money and the opportunity to learn and produce her documentaries and movies. She used men to further her ambitions and did not always give her colleagues and partners credit for her productions. But, being a woman in a male domination "macho" culture, how else was she to further her ambitions? The documentary does not go into this, but it is implied in the historical record.
The documentary is particularly interesting in showing the immense contributions in developing the technology and techniques she made in film-making.
It shows her as a feisty lady who still loves and is proud of her accomplishments.
Gotthard Stängle
5つ星のうち5.0
Überaus sehenswerter Film, leider etwas lang, aber das Thema ist auch sehr komplex.
2012年12月14日にドイツでレビュー済みAmazonで購入
gefallen hat mir, dass Frau Riefenstahl aus der Naziecke heraus genommen wird. Es wird deutlich, dass sie eine hoch komplexe Persönlichkeit ist, die man eben nicht einem Sterotyp unterordnen kann. Der Film zeigt, dass sie ein brillante und innovative Technickerin der Filmkunst war, aber leider irgendwie völlig unpolitisch. Sie hat es wohl nie geschafft, ihr eigenes Wirken in einem gesellschaftlichen Kontext zu begreifen, oder sie hat eben bewusst alles störend ausgeblendet, um eben ihre künstlerische Laufbahn und ihre Vorhaben nicht zu gefährden. Im Film wird dieser Aspekt auch angesprochen. Di Riefenstahl ist beim Angeriff auf Polen sofort mit dabei, wendet sich dann aber angewidert von der Militäroperation ab, beschwert sich sogar bei bestimmten Generälen und reist ab. Politische Schlüsse zieht sie aus den Greueltaten, deren zeugin sie geworden i, nicht. Eben so schwierig ist ihre Haltung zur Kapitulation Frankreichs. Sofort schickt sie Ergebenheitstelegramm an den Führer. Im Film begründet sie diesen Schritt damit, dass sie eben froh war, dass nun Frieden einkehren würde. Ich denke, da muss man schon sehr naiv gewesen sein, um das zu glauben, und diese Naivität geht eben nicht zusammen mit der technischen Raffinesse, die sie sonst in ihrer Branche an den Tag legte. Sie klingt überzeugend, wenn sie von ihren Freunden spricht, die dann 33 das Land verlassen haben, weil sie Angst bekommen haben. Aber...sie zieht überhaupt keine Schlüsse aus der Angst der anderen. Sie jedenfalls brauchte keine Angst zu haben oder sie war mal - wie so oft - nicht in Deutschland und hat eben nichts mitgekriegt. Es ist wie gesagt schwierig, ihre doch recht widersprüchliche Haltung glaubhaft nach zu vollziehen. Ich habe allerdings an Hand dieses Filmes viel über ihr Hauptwerk Triumph des Willens gelernt. Ich denke, es hat durchaus Bestand und man kann es nicht als Nazikunstwerk abtun. (Hat übrigens internationale Preise in Frankreich und den USA erhalten.) Wahrscheinlich muss man die gute Riefenstahl eben so verstehen, wie den alternden Richard Strauss oder den Dirigenten Furtwängler, vielleicht wäre auch mal ein Exkurs zu Prokofieff nötig, der nach der Oktoberrevolution in die USA geht und dort nicht zurechtkommt und wieder zurück nach Russland geht und sich unter Stalins Fittich stellt ohne Stalinist zu sein. Aber komisch ist das alles schon. Kurzum: Der Film zeigt ein sehr große Kompelxität, man glaubt sich versöhnt mit der Riefenstahl, aber es bleibt eben immer ein befremdendes Gefühl. Sie war leider auf der falschen Seite und hatte alle Chancen, es besser zu wissen.
Laura Knight-Jadczyk
5つ星のうち5.0
Five Stars for Leni!
2010年5月30日に英国でレビュー済みAmazonで購入
When I put this movie on, frankly, I expected to see an evil Nazi supporter who made the most successful propaganda movie of all time. That's what the hype suggested.
But that's NOT what I saw.
What I saw was a genius, an artist, a tremendously articulate woman who was devoted to her art and got caught in a political trap like millions of others and, in the end, was vilified for basically NOT being political at all. The filmmaker asks her "Don't you think it's the duty of an artist to be politically aware?" What nonsense! It was disgusting to see the filmmakers attempt to further vilify Leni with slimy trick questions like "Have you stopped beating your wife?". Fortunately, they failed. In every case, Leni's sincerity and honesty and self-examination and the way she articulated what actually went on in her mind and her immediate environment shone through as truth in the face of the obvious disrespect and manipulation of the filmmakers.
I was extremely irritated by the repeated attempts of the filmmakers to draw her into politics when it was clear that all Leni wanted to do in her life was make good, artistic films and was simply doing so in a time and a place where she would have been damned if she did and damned if she didn't. As another reviewer points out, "Why were the likes Richard Strauss and Karajan welcomed back into the fold and Riefenstahl wasn't? She was a woman, that's why. Haven't women always been pilloried for things that men are forgiven, excused and rehabilitated?"
The film maker tries to make a big deal out of Leni's declaration that she was NOT friendly with Goebbels and his diary entries where he claimed she was. Anybody with a smidgen of psychological knowledge can see that Goebbels wrote his diary as a fantasy, not as fact. As Leni pointed out, he was a master of the lie! Leni's version has the ring of truth. Goebbels was a disgusting little man and anyone who knows his history knows that what Leni says about him describes him accurately.
It strikes me that trying to lay responsibility for the events of Nazi Germany on Leni is just shameful. Imagine yourself in her world, at that time and that place, and tell me truthfully that you would have done different. You wouldn't. Why? Because if you aren't doing anything to resist the current Fascist takeover of the planet, which is a lot more obvious now that we have the example of the Hitler Reich to compare it to, then you have no excuse. Leni had no such example from history that would help her to know that Hitler and all he stood for was a recipe for disaster. Let him who is without sin cast the first stone.
As they say, hindsight is 20/20. Leni herself says that what she learned about Hitler after the war was over has affected the whole rest of her life. And not just because she was black-balled, but because the horror was so shocking she has never recovered from it. She plainly says that you face either living with that knowledge or dying, and you face that choice every day. She obviously chose to continue living, but it is obvious that it came at a great cost. But there is no bitterness.
One other point: Leni has been vilified for making "Triumph of the Will." She explains everything about this to the viewer and it all makes perfect sense considering what we now know about Nazi Germany and what we know about pathology in politics. What Leni actually did was make a fantastic film that shows us as clearly as anything ever could exactly how anyone and everyone can be deceived by psychopaths in power. She didn't stage or control what was being filmed, she just recorded it and used her genius to edit the film into art. It is thanks to her that we have a record of that time and those events. This film should be watched by everyone so that they can be aware of how pathological people in power can deceive so many people. In fact, there is a strong resemblance between the followers of Hitler and those who supported George Bush and now, Barack Obama. Leni's film is a lesson from history that should be taken onboard along with the reading of Political Ponerology: A Science on the Nature of Evil Adjusted for Political Purposes
If you want to see some really sick propaganda films, just watch American movies or fake news and lying journalism on TV every night. Remember that Project Mockingbird was a program to place the CIA in control of journalism. In fact, I would suggest that the makers of this film were trying to create propaganda against Leni.
I'm pretty disgusted with the people making this film and their transparent efforts to corner, pigeonhole, defame Leni. Throughout the film, her honesty and rational answers makes them look petty and pathetic and agenda driven.
If you are interested in Nazi Germany, in film making, in women's issues, this is definitely a film for you. I give it five stars for Leni, not for the filmmakers. She's the star and what a star she is! This is a fascinating film simply due to her presence, her amazing self. The world really lost a great artist for humanity when they sidelined Leni.
But that's NOT what I saw.
What I saw was a genius, an artist, a tremendously articulate woman who was devoted to her art and got caught in a political trap like millions of others and, in the end, was vilified for basically NOT being political at all. The filmmaker asks her "Don't you think it's the duty of an artist to be politically aware?" What nonsense! It was disgusting to see the filmmakers attempt to further vilify Leni with slimy trick questions like "Have you stopped beating your wife?". Fortunately, they failed. In every case, Leni's sincerity and honesty and self-examination and the way she articulated what actually went on in her mind and her immediate environment shone through as truth in the face of the obvious disrespect and manipulation of the filmmakers.
I was extremely irritated by the repeated attempts of the filmmakers to draw her into politics when it was clear that all Leni wanted to do in her life was make good, artistic films and was simply doing so in a time and a place where she would have been damned if she did and damned if she didn't. As another reviewer points out, "Why were the likes Richard Strauss and Karajan welcomed back into the fold and Riefenstahl wasn't? She was a woman, that's why. Haven't women always been pilloried for things that men are forgiven, excused and rehabilitated?"
The film maker tries to make a big deal out of Leni's declaration that she was NOT friendly with Goebbels and his diary entries where he claimed she was. Anybody with a smidgen of psychological knowledge can see that Goebbels wrote his diary as a fantasy, not as fact. As Leni pointed out, he was a master of the lie! Leni's version has the ring of truth. Goebbels was a disgusting little man and anyone who knows his history knows that what Leni says about him describes him accurately.
It strikes me that trying to lay responsibility for the events of Nazi Germany on Leni is just shameful. Imagine yourself in her world, at that time and that place, and tell me truthfully that you would have done different. You wouldn't. Why? Because if you aren't doing anything to resist the current Fascist takeover of the planet, which is a lot more obvious now that we have the example of the Hitler Reich to compare it to, then you have no excuse. Leni had no such example from history that would help her to know that Hitler and all he stood for was a recipe for disaster. Let him who is without sin cast the first stone.
As they say, hindsight is 20/20. Leni herself says that what she learned about Hitler after the war was over has affected the whole rest of her life. And not just because she was black-balled, but because the horror was so shocking she has never recovered from it. She plainly says that you face either living with that knowledge or dying, and you face that choice every day. She obviously chose to continue living, but it is obvious that it came at a great cost. But there is no bitterness.
One other point: Leni has been vilified for making "Triumph of the Will." She explains everything about this to the viewer and it all makes perfect sense considering what we now know about Nazi Germany and what we know about pathology in politics. What Leni actually did was make a fantastic film that shows us as clearly as anything ever could exactly how anyone and everyone can be deceived by psychopaths in power. She didn't stage or control what was being filmed, she just recorded it and used her genius to edit the film into art. It is thanks to her that we have a record of that time and those events. This film should be watched by everyone so that they can be aware of how pathological people in power can deceive so many people. In fact, there is a strong resemblance between the followers of Hitler and those who supported George Bush and now, Barack Obama. Leni's film is a lesson from history that should be taken onboard along with the reading of Political Ponerology: A Science on the Nature of Evil Adjusted for Political Purposes
If you want to see some really sick propaganda films, just watch American movies or fake news and lying journalism on TV every night. Remember that Project Mockingbird was a program to place the CIA in control of journalism. In fact, I would suggest that the makers of this film were trying to create propaganda against Leni.
I'm pretty disgusted with the people making this film and their transparent efforts to corner, pigeonhole, defame Leni. Throughout the film, her honesty and rational answers makes them look petty and pathetic and agenda driven.
If you are interested in Nazi Germany, in film making, in women's issues, this is definitely a film for you. I give it five stars for Leni, not for the filmmakers. She's the star and what a star she is! This is a fascinating film simply due to her presence, her amazing self. The world really lost a great artist for humanity when they sidelined Leni.
M. Stammeier
5つ星のうち5.0
Leni Riefenstahl - ungebrochene Künstlerin mit Brüchen
2019年4月2日にドイツでレビュー済みAmazonで購入
Ein recht gut gelungener Film, der neben dem üblichen Verdacht, Leni Riefenstahl sei eine überzeugte Nationalsozialistin gewesen, auch andere Nuancen dieses - ich möchte mal sagen: bemerkenswerten! - Lebens eines außergewöhnlichen Menschen aufzuzeigen vermag. Da ist nicht nur die Tänzerin Riefenstahl, die mit ca. 90 Jahren glaubhaft einen Wandel zur Schauspielerin beschreiben kann, wo sie zu erkennen beginnt, sie könne eventuell eine gute Regisseurin sein. Da ist auch die Frau, die sich im Ausland versucht, mächtig diszipliniert ist, in Afrika in eher widrigen Verhältnissen die Nuba abfilmt und -fotografiert, während man sie in Deutschland als Nazi verteufelt, die mit 90 Jahren noch tauchen geht. Zäh wie Leder? Irgendwie schon.
Triumph des Willens ist in meinen Augen nach diesem Film das ganz große Thema über diesem Leben. Triumph in der Arbeit zur Zeit des Nationalsozialismus, Triumph der eigenen Neuerfindung/Weiterentwicklung nach dem Zusammenbruch, Triumph sogar, wenn der Dokumentarfilm zeigt, wie die Perfektionistin Riefenstahl sagt, dass sie bei diesem Licht nicht gefilmt werden möchte, dass sie im Gehen nicht sprechen will, das habe sie ja noch nie gemacht, dass man die Berge dahinten aber anders abfilmen müsse! Triumph des Willens auch, dass diese Frau es auf über 100 Jahre gebracht hat. Von diesem Charakter - ganz gleich, was die Leute meinen - schneide ich mir eine fette Scheibe ab!
Ich bin übrigens der Meinung, dass durchaus klar gemacht wurde, wenn der Regisseur nicht mit Riefenstahls Aussage übereinstimmte (vgl. bspw. die Lesungen aus Goebbels Tagebuch, die in die Interviews geschnitten wurden). Ich bin aber ebenfalls der Meinung, dass wir es uns mit unserem Werturteil manchmal recht bequem einrichten. Es ist leicht, alles, was damals nicht der Widerstand war, aus heutiger Sicht in Bausch und Bogen zu verurteilen. Wir leben in der Bundesrepublik und tragen für diese Verdammung von Menschen null soziale Kosten. Interessanter ist es da schon, wenn jemand sich daran wagt, einen Charakter zu differenzieren. In diesem Film ist das gelungen.
Ich ziehe meinen Hut vor Leni Riefenstahl und ihrem produktiven künstlerischen Leben - mit all den (auch teils gravierenden) Fehlern, die ein Mensch üblicherweise so hat!
Triumph des Willens ist in meinen Augen nach diesem Film das ganz große Thema über diesem Leben. Triumph in der Arbeit zur Zeit des Nationalsozialismus, Triumph der eigenen Neuerfindung/Weiterentwicklung nach dem Zusammenbruch, Triumph sogar, wenn der Dokumentarfilm zeigt, wie die Perfektionistin Riefenstahl sagt, dass sie bei diesem Licht nicht gefilmt werden möchte, dass sie im Gehen nicht sprechen will, das habe sie ja noch nie gemacht, dass man die Berge dahinten aber anders abfilmen müsse! Triumph des Willens auch, dass diese Frau es auf über 100 Jahre gebracht hat. Von diesem Charakter - ganz gleich, was die Leute meinen - schneide ich mir eine fette Scheibe ab!
Ich bin übrigens der Meinung, dass durchaus klar gemacht wurde, wenn der Regisseur nicht mit Riefenstahls Aussage übereinstimmte (vgl. bspw. die Lesungen aus Goebbels Tagebuch, die in die Interviews geschnitten wurden). Ich bin aber ebenfalls der Meinung, dass wir es uns mit unserem Werturteil manchmal recht bequem einrichten. Es ist leicht, alles, was damals nicht der Widerstand war, aus heutiger Sicht in Bausch und Bogen zu verurteilen. Wir leben in der Bundesrepublik und tragen für diese Verdammung von Menschen null soziale Kosten. Interessanter ist es da schon, wenn jemand sich daran wagt, einen Charakter zu differenzieren. In diesem Film ist das gelungen.
Ich ziehe meinen Hut vor Leni Riefenstahl und ihrem produktiven künstlerischen Leben - mit all den (auch teils gravierenden) Fehlern, die ein Mensch üblicherweise so hat!