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Triumph of the Will

Triumph of the Will

German theatrical poster

Directed by Leni Riefenstahl

Produced by Leni Riefenstahl

Written by Leni RiefenstahlWalter Ruttmann

Starring Adolf HitlerHermann GÄringJoseph GoebbelsOther Nazi Leaders30,000 extras

Music by Herbert WindtRichard Wagner

Editing by Leni Riefenstahl

Studio Reichsparteitag-Film

Distributed by Universum Film AG

Release date(s) March 28, 1935(Berlin, Germany)

Running time 114 minutes

Country Germany

Language German

Preceded by Victory of Faith

Followed by Tag der Freiheit: Unsere Wehrmacht

Triumph of the Will (German: Triumph des Willens) is a propaganda film made by Leni Riefenstahl. It chronicles the 1934 Nazi Party Congress in Nuremberg (the Nuremburg Rally was attended by Nazi supporters to promote the Nazi political party), which was attended by more than 30,000[1] Nazi supporters. The film contains excerpts from speeches given by various Nazi leaders at the Congress, including portions of speeches by Adolf Hitler, interspersed with footage of massed party members. Hitler commissioned the film and served as an unofficial executive producer;

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his name appears in the opening titles. The overriding theme of the film is the return of Germany as a great power,with Hitler as the True German Leader who will bring glory to the nation.

Triumph of the Will was released in 1935 and rapidly became one of the best-known examples of propaganda in filmhistory. Riefenstahl's techniques, such as moving cameras, the use of telephoto lenses to create a distortedperspective, aerial photography, and revolutionary approach to the use of music and cinematography, have earnedTriumph recognition as one of the greatest films in history. Riefenstahl won several awards, not only in Germany butalso in the United States, France, Sweden, and other countries. The film was popular in the Third Reich[2] andelsewhere, and has continued to influence movies, documentaries, and commercials to this day.[3]

SynopsisThe film begins with a prologue, the only commentary in the film. It consists of the following text, shownsequentially, against a gray background:[4]

Am 5. September 1934[On 5 September 1934]

20 Jahre nach dem Ausbruch des Weltkrieges[20 years after the outbreak of the World War]

16 Jahre nach dem Anfang deutschen Leidens[16 years after the beginning of German suffering]

19 Monate nach dem Beginn der deutschen Wiedergeburt[19 months after the beginning of the German renaissance]

flog Adolf Hitler wiederum nach NÅrnberg, um Heerschau abzuhalten Åber seineGetreuen

[Adolf Hitler flew again to Nuremberg to review the columns of his faithful followers]

'Day 1': The film opens with shots of the clouds above the city, and then moves through the clouds to float above theassembling masses below, with the intention of portraying beauty and majesty of the scene. The cruciform shadow ofHitler's plane is visible as it passes over the tiny figures marching below,[3] accompanied by music from RichardWagner's Die Meistersinger von NÄrnberg, which slowly turns into the Horst-Wessel-Lied. Upon arriving at theNuremberg airport, Hitler emerges from his plane to thunderous applause and a cheering crowd. He is then driveninto Nuremberg, through equally enthusiastic people, to his hotel where a night rally is later held.

'Day 2': The second day begins with a montage of the attendees getting ready for the opening of the Reich PartyCongress, and then footage of the top Nazi officials arriving at the Luitpold Arena. The film then cuts to the openingceremony, where Rudolf Hess announces the start of the Congress. The camera then introduces much of the Nazihierarchy and covers their opening speeches, including Joseph Goebbels, Alfred Rosenberg, Hans Frank, Fritz Todt,Robert Ley, and Julius Streicher. Then the film cuts to an outdoor rally for the Reichsarbeitsdienst (Labor Service),which is primarily a series of pseudo-military drills by men carrying spades. This is also where Hitler gives his firstspeech on the merits of the Labor Service and praising them for their work in rebuilding Germany. The day thenends with a torchlight SA parade in which Viktor Lutze speaks to the crowds.

'Day 3': The third day starts with a Hitler Youth rally on the parade ground. Again the camera covers the Nazidignitaries arriving and the introduction of Hitler by Baldur von Schirach. Hitler then addresses the Youth,describing in militaristic terms how they must harden themselves and prepare for sacrifice. Everyone present thenassembles for a military pass and review, featuring Wehrmacht cavalry and various armored vehicles. That nightHitler delivers another speech to low-ranking party officials by torchlight, commemorating the first year since theNazis took power and declaring that the party and state are one entity.

'Day 4': The fourth day is the climax of the film, where the most memorable of the imagery is presented. As the soundtrack plays themes from Wagner's GÄtterdÇmmerung, Hitler, flanked by Heinrich Himmler and Viktor Lutze,

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walks through a long wide expanse with over 150,000 SA and SS troops standing at attention, to lay a wreath at aWorld War I Memorial. Hitler then reviews the parading SA and SS men, following which Hitler and Lutze deliver aspeech where they discuss the Night of the Long Knives purge of the SA several months prior. Lutze reaffirms theSA's loyalty to the regime, and Hitler absolves the SA of any crimes committed by Ernst RÄhm. New party flags areconsecrated by letting them touch the Blutfahne (the same cloth flag said to have been carried by the fallen Nazisduring the Beer Hall Putsch) and, following a final parade in front of the Nuremberg Frauenkirche, Hitler delivershis closing speech. In it he reaffirms the primacy of the Nazi Party in Germany, declaring, "All loyal Germans willbecome National Socialists. Only the best National Socialists are party comrades!" Hess then leads the assembledcrowd in a final Sieg Heil salute for Hitler, marking the close of the party congress. The entire crowd sings the"Horst-Wessel-Lied" as the camera focuses on the giant Swastika banner, which fades into a line of silhouetted menin Nazi party uniforms, marching in formation as the lyrics "Comrades shot by the Red Front and the Reactionariesmarch in spirit together in our columns" are sung.

OriginsShortly after he came to power Hitler called me to see him and explained that he wanted a film about a PartyCongress, and wanted me to make it. My first reaction was to say that I did not know anything about the waysuch a thing worked or the organization of the Party, so that I would obviously photograph all the wrongthings and please nobody - even supposing that I could make a documentary, which I had never yet done.Hitler said that this was exactly why he wanted me to do it: because anyone who knew all about the relativeimportance of the various people and groups and so on might make a film that would be pedantically accurate,but this was not what he wanted. He wanted a film showing the Congress through a non-expert eye, selectingjust what was most artistically satisfying - in terms of spectacle, I suppose you might say. He wanted a filmwhich would move, appeal to, impress an audience which was not necessarily interested in politics. - LeniRiefenstahl[4]

Riefenstahl, a popular German actress, had directed her first movie called Das Blaue Licht (The Blue Light) in 1932.Around the same time she first heard Hitler speak at a Nazi rally and, by her own admission, was impressed. Shelater began a correspondence with him that would last for years. Hitler, by turn, was equally impressed with DasBlaue Licht, and in 1933 asked her to direct a film about the Nazi's annual Nuremberg Rally. The Nazis had onlyrecently taken power amid a period of political instability (Hitler was the fourth Chancellor of Germany in less thana year) and were considered an unknown quantity by many Germans, to say nothing of the world.

Riefenstahl was initially reluctant, not because of any moral qualms, but because she wanted to continue makingfeature films. Hitler persisted and Riefenstahl eventually agreed to make a film at the 1933 Nuremberg Rally calledDer Sieg des Glaubens (Victory of Faith). However the film had numerous technical problems, including a lack ofpreparation (Riefenstahl reported having just a few days) and Hitler's apparent unease at being filmed. To makematters worse, Riefenstahl had to deal with infighting by party officials, in particular Joseph Goebbels who tried tohave the film released by the Propaganda Ministry. Though Sieg apparently did well at the box office, it later becamea serious embarrassment to the Nazis after SA Leader Ernst RÄhm, who had a prominent role in the film, wasexecuted during the Night of the Long Knives. All references to RÄhm were ordered to be erased from Germanhistory, which included the destruction of all known copies of Der Sieg des Glaubens.

In 1934, Riefenstahl had no wish to repeat the fiasco of Sieg and initially recommended fellow director WalterRuttmann. Ruttmann's film, which would have covered the rise of the Nazi Party from 1923 to 1934 and been moreovertly propagandistic (the opening text of Triumph was his), did not appeal to Hitler. He again asked Riefenstahl,who finally relented (there is still debate over how willing she was) after Hitler guaranteed his personal support andpromised to keep other Nazi organizations, specifically the Propaganda Ministry, from meddling with her film.

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FilmmakingThe film follows a similar script as Der Sieg des Glaubens which is evident when one sees both films side by side,for example, the city of Nuremberg scenes-down to the shot of a cat that is included in the city driving sequence inboth films. Furthermore, Herbert Windt reused much of his musical score for that film in Triumph des Willens whichhe also scored. But unlike Sieg, Riefenstahl shot Triumph with a large budget, extensive preparations, and vital helpfrom high-ranking Nazis like Goebbels. As Susan Sontag observed, "The Rally was planned not only as a spectacularmass meeting, but as a spectacular propaganda film."[5] Albert Speer, Hitler's personal architect, designed the set inNuremberg and did most of the coordination for the event.[3] Pits were dug in front of the speakers' platform soRiefenstahl could get the camera angles she wanted, and tracks were laid so that her cameramen could get travelingshots of the crowd. When rough cuts weren't up to par, major party leaders and high-ranking public officialsreenacted their speeches in a studio for her.[20] Riefenstahl also used a film crew that was extravagant by thestandards of the day. Her crew consisted of 172 people, including 10 technical staff, 36 cameramen and assistants(operating in 16 teams with 30 cameras), nine aerial photographers, 17 newsreel men, 12 newsreel crew, 17 lightingmen, two photographers, 26 drivers, 37 security personnel, four labor service workers, and two office assistants.Many of her cameramen also dressed in SA uniforms so they could blend into the crowds.[6]

The New York Times has said it took almost two years to edit the final version from 400Ékilometres (250 mi) of rawfootage.[7] However, this time frame is obviously incorrect, as there were only 200 days between the rally inSeptember 1934 and the premiere in March 1935. The New York Times is most likely referring to Olympia,Riefenstahl's documentary about the 1936 Berlin Olympic Games. In the documentary The Wonderful, Horrible Lifeof Leni Riefenstahl, the 400000Émetres (250 mi) of footage and the two years of editing are mentioned. In Triumph ofthe Will, however, Riefenstahl did have the difficult task of condensing an estimated 61 hours of film into twohours.[6] She labored to complete the film as fast as she could, going so far as to sleep in the editing room filled withhundreds of thousands of feet of film footage.[8]

Themes

Ä[Triumph of the Will is] the supreme visualisation in cinematic form of the Nazi political religion. Its artistry, reinforced by the grandeur andpower of the Nuremberg decor, is designed to sweep us into empathetic identification with Hitler as a kind of human deity. The massivespectacle of regimentation, unity and loyalty to the FÅhrer powerfully conveys the message that the Nazi movement was the living symbol ofthe reborn German nation. Å

Ä Professor Robert Wistrich[4]

Religion

ÄThis morning's opening meeting... was more than a gorgeous show, it also had something of the mysticism and religious fervor of an Easteror Christmas Mass in a great Gothic cathedral. Å

Ä Reporter William Shirer[16]

The primary religion in Germany before the Second World War was Christianity. With the primary sects being Roman Catholic and Protestant, the Christian views in this movie are clearly meant to allow the movie to better connect with the intended audience.[5] [6] Religion is a major theme in Triumph. The film opens with a Point Of View coming godlike out of the skies to alight on twin cathedral spires. It contains many scenes of church bells ringing, and individuals in a state of near-religious fervor, as well as a prominent shot of Reich Bishop Ludwig MÅller standing in his vestments among high-ranking Nazis. It is probably not a coincidence that the final parade of the film was held in front of the Nuremberg Frauenkirche. In his final speech in the film, Hitler also directly compares the Nazi party to a holy order, and the consecration of new party flags by having Hitler touch them to the

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"blood banner" has obvious religious overtones. Hitler himself is portrayed in a messianic manner, from the openingwhere he descends from the clouds in a plane, to his drive through Nuremberg where even a cat stops what it isdoing to watch him, to the many scenes where the camera films from below and looks up at him,[7] as Hitler-standingon his podium-will issue a command to hundreds of thousands of followers. The audience happily complies inunison.[7] Frank P. Tomasulo comments that in Triumph, "Hitler is cast as a veritable German Messiah who will savethe nation, if only the citizenry will put its destiny in his hands."[9]

The title of this film is a parody of Martin Luther's magnum opus The Bondage of the Will.[8]

Power

ÄIt is our will that this state and this Reich shall endure through the coming millenia.ÅÄ Hitler

Germany had not seen images of military power and strength since the end of World War I, and the huge formationsof men would remind the audience that Germany was becoming a great power once again. Though the Labor Servicemen carried spades, they handled them as if they were rifles. The Eagles and Swastikas could be seen as a referenceto the Roman Legions of antiquity.[17] The large mass of well-drilled party members could be seen in a moreominous light, as a warning to dissidents thinking of challenging the regime. Hitler's arrival in an airplane shouldalso be viewed in this context. According to Kenneth Poferl, "Flying in an airplane was a luxury known only to aselect few in the 1930s, but Hitler had made himself widely associated with the practice, having been the firstpolitician to campaign via air travel. Victory reinforced this image and defined him as the top man in the movement,by showing him as the only one to arrive in a plane and receive an individual welcome from the crowd. Hitler'sspeech to the SA also contained an implied threat: if he could have RÄhm - the commander of the hundreds ofthousands of troops on the screen - shot, it was only logical to assume that Hitler could get away with having anyoneexecuted."[3]

UnityIt was very important to Adolf Hitler that his propaganda messages carry a unified theme. "As soon as our ownpropaganda admits too much as a glimmer of right on the other side, the foundation for doubt in our own right hasbeen laid." (Hitler) If a country isn't unified in saying the enemy is bad, the audience starts to have doubts. Unity isseen throughout this film, even in the camps soldiers live in. The camp outside of Nuremburg is very uniform andclean; then tents are lined in perfect rows, each one the same as the next. The men there also make a point not towear their shirts, because their shirts display their rankings and status. Shirtless they are all equals, unified. Whenthey march, it is in unison and they all carry their weapons identical to one another. Hitler's message to the workersalso includes the notion of unity, "The concept of labor will no longer be a dividing one but a uniting one, and thatno longer will there be anybody in Germany who will regard manual labor any less highly than any other form oflabor"(Hitler). Children were also used to convey unity, "We want to be a united nation, and you, my youth, are tobecome this nation. In the future, we do not wish to see classes and cliques, and you must not allow them to developamong you. One day, we want to see one nation" (Hitler).[9]

ÄThe Party is Hitler - and Hitler is Germany just as Germany is Hitler!ÅÄ Rudolf Hess

Triumph has many scenes that blur the distinction between the Nazi Party, the German state, and the German people. Germans in peasant farmers' costumes and other traditional clothing greet Hitler in some scenes. The torchlight

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processions, though now associated by many with the Nazis, would remind the viewer of the medieval Karnevalcelebration. The old flag of Imperial Germany is also shown several times flying alongside the Swastika, and there isa ceremony where Hitler pays his respects to soldiers who died in World War I (as well as President Paul vonHindenburg who had died a month before the convention). There is also a scene where the Labor Servicemenindividually call out which town or area in Germany they are from, reminding the viewers that the Nazi Party hadexpanded from its stronghold in Bavaria to become a pan-German movement.

Hitler's speechesAmong the themes presented, the desire for pride in Germany and the purification of the German people is wellexemplified through the speeches and ideals of the Third Reich in Triumph.

In every speech given and shown in Triumph, pride is one of the major focuses. Hitler advocates to the people thatthey should not be satisfied with their current state and they should not be satisfied with the descent from power andgreatness Germany has endured since World War I. The German people should believe in themselves and themovement that is occurring in Germany. Hitler promotes pride in Germany through the unification of it. UnifyingGermany would force the elimination of what does not amount to the standards of the Nazi regime.

To unify Germany, Hitler believes purification would have to take place. This meant not only eliminating thecitizens of Germany who are not of the Aryan race, but the sick, weak, handicapped, or any other citizens deemedunhealthy or impure. In Triumph, Hitler preaches to the people that Germany must take a look at itself and seek outwhich does not belong: "[T]he elements that have become bad, and therefore do not belong with us!" Theelimination of the 'inferior' people of Germany would, in theory, return Germany to its once prideful and powerfulformer self. Julius Streicher stresses the importance of purification and the effects of what happens when purificationdoes not take place. These standards and regulations of the Nazi Party would underline the racial injustices sufferedthroughout the rest of the Nazi reign in Germany.

Hitler preaches to the people in his speeches that they should believe in their country and themselves. The Germanpeople are better than what they have become because of the impurities in society. Hitler wants them to believe inhim and believe what he wants to do for his people, and what he is doing is for the country's and people's benefit.Hess says in the last scene of Triumph, "Hail Hitler, hail victory, hail victory!" Everyone in attendance yells insupport. This verbal sign represents their faith to their leader and his most trusted advisors that they believe in theNazi cause. This is directly followed by Hitler yelling, "Long live the National Socialist Movement! Long liveGermany!" and the crowd erupts with cheering and the fulfillment of pride for themselves and their political party.

In the closing speech of Triumph of the Will,Hitler enters the room from the back, appearing to emerge from thepeople. Hitler, after a one sentence introduction tells his faithful Nazi's how the German nation has subordinateditself to the Nazi Party because its leaders are mostly of Germans. He promises that the new state that the Nazis havecreated will endure for thousands of years. Hitler says that the youth will carry on after the old have weakened. Theyclose with a chant, "Hitler is the Party, Hitler." The camera focuses on the large Swastika above Hitler and the filmends with these images of this Swastika imposed on Nazis marching in a few columns. His speech brought attentionto the rally and created a huge turnout in the following years. He attracted many people in the way that he addressedthe issues and his people. He spoke to them as if it were a sermon and engaged the people. In 1934, over a millionGermans participated in the Nuremberg Rally; the following year is remembered for the special announcementsconcerning the status of Jews in Germany[10]

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ResponseTriumph of the Will premiered on 28 March 1935 at the Berlin Ufa Palace Theater and was an instant success.Within two months the film had earned 815,000 Reichsmark, and the Ufa considered it one of the three mostprofitable films of that year.[3] Hitler praised the film as being an "incomparable glorification of the power andbeauty of our Movement." For her efforts, Riefenstahl was rewarded with the German Film Prize (DeutscherFilmpreis), a gold medal at the 1935 Venice Biennale, and the Grand Prix at the 1937 World Exhibition in Paris.[9]

However, there were few claims that the film would result in a mass influx of 'converts' to fascism and the Nazisapparently did not make a serious effort to promote the film outside of Germany. Film historian Richard Taylor alsosaid that Triumph was not generally used for propaganda purposes inside the Third Reich,[10] although Roy Frumkesargued that, on the contrary, it was shown each year in every German theater until 1945.[8] The Independent wrote in2003: "Triumph of the Will seduced many wise men and women, persuaded them to admire rather than to despise,and undoubtedly won the Nazis friends and allies all over the world."[11]

The reception in other countries was not always as enthusiastic. British documentarian Paul Rotha called it tedious,while others were repelled by its pro-Nazi sentiments.[3] During World War II, Frank Capra made a direct responsecalled Why We Fight, a series of newsreels commissioned by the United States government that spliced in footagefrom Triumph of the Will, but recontextualized it so that it promoted the cause of the Allies instead. Capra laterremarked that Triumph "fired no gun, dropped no bombs. But as a psychological weapon aimed at destroying thewill to resist, it was just as lethal."[11] Clips from Triumph were also used in an Allied propaganda short calledGeneral Adolph Takes Over, set to the British dance tune "The Lambeth Walk". The legions of marching soldiers, aswell as Hitler giving his Nazi salute, were made to look like wind-up dolls, dancing to the music. Also during WorldWar II, the poet Dylan Thomas wrote a screenplay for and narrated These Are The Men, a propaganda piece usingTriumph footage to discredit Nazi leadership.

One of the best ways to gauge the response to Triumph was the instant and lasting international fame it gaveRiefenstahl. The Economist said it "sealed her reputation as the greatest female filmmaker of the 20th century."[12]

For a director who made eight films, only two of which received significant coverage outside of Germany,Riefenstahl had unusually high name recognition for the remainder of her life, most of it stemming from Triumph.However, her career was also permanently damaged by this association. After the war, Riefenstahl was imprisonedby the Allies for four years for allegedly being a Nazi sympathizer and was permanently blacklisted by the filmindustry. When she died in 2003, 68 years after its premiere, her obituary received significant coverage in manymajor publications-including the Associated Press,[13] Wall Street Journal,[14] New York Times,[7] and TheGuardian[15] - most of which reaffirmed the importance of Triumph.

Though the actual effectiveness of the media film Triumph of the Will is hard to measure, in terms of numbers orstatistics that actually state its effectiveness, its response from the people is well-documented with the amount ofviews and the popularity of the movie during the time period. One way to measure the effectiveness of Germanpropaganda, like Triumph, was how the people treated the acts of the Nazis and their treatment and conduct towardsthe Jewish people. German citizen reactions to the methods used by the Nazis were merely to do nothing, andresearch proves that it was not well accepted . "...In the short run most of those who felt embarrassed learned to turna blind eye and retreat into non-political privacy. It was much easier to conform than to swim against the stream".[12]

ControversyLike American filmmaker D. W. Griffith's The Birth of a Nation, Triumph of the Will has been criticized as a use of spectacular filmmaking to promote a profoundly evil system. In Germany, this movie is classified as Nazi propaganda and its showing is restricted under post-war denazification laws, but it may be shown in an educational context. In her defense, Riefenstahl claimed that she was naÑve about the Nazis when she made it and had no knowledge of Hitler's genocidal policies. She also pointed out that Triumph contains "not one single antisemitic word",[13] although it does contain a veiled comment by Julius Streicher that "A people that does not protect its

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racial purity will perish." However, Roger Ebert has observed that for some, "the very absence of antisemitism inTriumph of the Will looks like a calculation; excluding the central motif of almost all of Hitler's public speeches musthave been a deliberate decision to make the film more efficient as propaganda."[1]

Riefenstahl also repeatedly defended herself against the charge that she was a Nazi propagandist, saying thatTriumph focuses on images over ideas, and should therefore be viewed as a Gesamtkunstwerk (holistic work of art).In 1964, she returned to this topic, saying:

"If you see this film again today you ascertain that it doesn't contain a single reconstructed scene. Everythingin it is true. And it contains no tendentious commentary at all. It is history. A pure historical film... it isfilm-vÖritÖ. It reflects the truth that was then in 1934, history. It is therefore a documentary. Not a propagandafilm. Oh! I know very well what propaganda is. That consists of recreating events in order to illustrate a thesis,or, in the face of certain events, to let one thing go in order to accentuate another. I found myself, me, at theheart of an event which was the reality of a certain time and a certain place. My film is composed of whatstemmed from that."[5]

However, Riefenstahl was an active participant in the rally, though in later years she downplayed her influencesignificantly, claiming, "I just observed and tried to film it well. The idea that I helped to plan it is downrightabsurd." Film critic Roy Frumkes has called Triumph "the antithesis of an objective work" and suggested thatbecause of the special accommodations Riefenstahl received (one scene featured aerial searchlights requisitionedfrom the Luftwaffe) and because "the film was altered by practically every in-the-camera and laboratory specialeffect then known" the film can be labeled anything except a documentary.[8] Ebert also disagreed, saying thatTriumph is "by general consent [one] of the best documentaries ever made", but added that because it reflects theideology of a movement regarded by many as evil, "[it poses] a classic question of the contest between art andmorality: Is there such a thing as pure art, or does all art make a political statement?"[1] When reviewing the film forhis "Great Movies" collection, Ebert reversed his opinion, characterizing his earlier conclusion as "the receivedopinion that the film is great but evil" and calling it "a terrible film, paralyzingly dull, simpleminded, overlong andnot even 'manipulative,' because it is too clumsy to manipulate anyone but a true believer."[13]

Susan Sontag considered Triumph of the Will the "most successful, most purely propagandistic film ever made,whose very conception negates the possibility of the filmmaker's having an aesthetic or visual conceptionindependent of propaganda."[14] Sontag points to Riefenstahl's involvement in the planning and design of theNuremberg ceremonies as evidence that Riefenstahl was working, not as an artist in any sense of the word, but aspropagandist. With some 30 cameras and a crew of 150, the marches, parades, speeches and processions wereorchestrated like a movie set for Riefenstahl's film. Nor was this the first political film made by Riefenstahl for theThird Reich (there was Victory of Faith, 1933, and Day of Freedom, shot in 1933 and released in 1935). Nor was itthe last (Olympia, 1938). "Anyone who defends Riefenstahl's films as documentary", Sontag states, "if documentaryis to be distinguished from propaganda, is being disingenuous. In Triumph of Will, the document (the image) is nolonger simply the record of reality; 'reality' has been constructed to serve the image."[15]

Brian Winston's essay on the film in The Movies as History: Visions of the Twentieth Century, an anthology editedby David Ellwood, is largely a critique of Sontag's analysis, which he finds faulty. His ultimate point is that anyfilmmaker could have made the film look impressive because the Nazi's mise en scÅne was impressive, particularlywhen they were offering it for camera re-stagings. In form, the film alternates repetitively between marches andspeeches. Winston asks the viewers to consider if such a film should be seen as anything more than a pedestrianeffort. Like Rotha, he finds the film tedious, and believes anyone who takes the time to analyze its structure willquickly agree.

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Wehrmacht objectionsThe first controversy over Triumph occurred even before its release, when several generals in the Wehrmachtprotested over the minimal army presence in the film. Only one scene, the review of the German cavalry, actuallyinvolved the German military. The other formations were party organizations that were not part of the military.Hitler proposed his own "artistic" compromise where Triumph would open with a camera slowly tracking down arow of all the "overlooked" generals (and placate each general's ego). According to her own testimony, Riefenstahlrefused his suggestion and insisted on keeping artistic control over Triumph of the Will. She did agree to return to the1935 rally to make a film exclusively about the Wehrmacht, which became Tag der Freiheit: Unsere Wehrmacht.[18]

Influences and legacyAccording to historian Philip Gavin, "The legacy of Triumph of the Will lives on today in the numerous TVdocumentaries concerning the Nazi era which replay portions of the film... [Its] most enduring and dangerousillusion is that Nazi Germany was a super-organized state, that, although evil in nature, was impressivenonetheless."[16] Gavin believes that the reality of Nazism as a disorganized and bureaucratic mess was obscured byTriumph of the Will's powerful images of a united Fascist movement. Nicholas Reeves concurs, adding that "many ofthe most enduring images of the Third Reich and Adolf Hitler derive from Riefenstahl's film."[3]

Extensive excerpts of the film were used in the Swedish box office hit Mein Kampf. This prompted Riefenstahl tosue the production company Minerva for copyright violation. Although her case against Minerva was unresolved,she won a temporary injunction against the German distributor. Subsequently in order to release the film, theGerman distributor agreed to pay Riefenstahl thirty thousand marks for Germany's release and a further fivethousand marks for Austria's.

In 1942, Charles A. Ridley of the British Ministry of Information made a short propaganda film, Lambeth Walk -Nazi Style, which edited footage of Hitler and German soldiers from the film to make it appear they were marchingand dancing to the song "The Lambeth Walk". The film so enraged Joseph Goebbels that reportedly he ran out of thescreening room kicking chairs and screaming profanities. The propaganda film was distributed uncredited tonewsreel companies, who would supply their own narration.

Triumph of the Will has also been studied by many contemporary artists (At his wedding, Mick Jagger toldRiefenstahl that he had seen it at least 15 times), including film directors Peter Jackson, George Lucas and RidleyScott. The first known movie to use Triumph imagery is Charlie Chaplin's The Great Dictator, which ironically wasa parody of Nazism. Scenes from the film have also been imitated in later movies, most famously Star Wars EpisodeIV: A New Hope (as well as the other Star Wars films). Other films to use Triumph-like imagery are Citizen Kane,Gladiator, Hero, Lord of the Rings, The Lion King, Richard III, Red Dawn, Spartacus, and Starship Troopers. Thefilm has also influenced American politics. The director of a political ad for Nelson Rockefeller's presidentialcampaign admitted he used Triumph as a reference. Some American political commentators have also comparedboth the Republican and Democratic Party Conventions to Triumph of the Will, although these criticisms are almostalways partisan in nature.[16]

In popular cultureÜ The gothic band, Radio Werewolf, had a song called "Triumph of the Will" about an old man looking back fondly

on his days as a member of the NSDAP.

Ü In the episode Local Ad of the U.S. television series The Office (U.S. TV series), Michael Scott (The Office)mentions (most likely unknowingly) the film, stating if they don't shoot a certain scene of the commercial they'reshooting right, they will "lose the whole triumph of the moment. The triumph of the will."

Ü Devo has a song entitled "Triumph of the Will" which appears on the 1979 album Duty Now for the Future.

Ü This Heat have a song called "Triumph" which mentions Triumph of the Will.

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See alsoÜ List of German films 1933-1945Ü Nazism and cinemaÜ Why We Fight

Footnotes1. aÉ bÉ cÉEbert, Roger. "The Wonderful Horrible Life of Leni Riefenstahl [17]." Chicago Sun-Times, 24 June 1994.2. aÉ bÉ cÉ dÉ eÉPoferl, Kenneth. (2003). "An Evil Faith [18]." Detailed comparison between Sieg des Glaubens and

Triumph of the Will.3. aÉ bÉ FilmEducation.Org [19]. Brief overview of the film and its place in history.4. aÉ bÉ cÉ Cheshire, Ellen (2000). "Leni Riefenstahl: Documentary Film-Maker Or Propagandist?" [20]. Kamera: -.5. aÉ bÉ cÉ "Triumph of the Will" [21]. Retrieved December 26, 2005.6. aÉ bÉ Riding, Alan (9 September 2003). "Leni Riefenstahl, Filmmaker and Nazi Propagandist, Dies at 101" [22].

New York Times. pp.ÉXX.7. aÉ bÉ cÉ dÉ Frumkes, Roy (Essayist). (2001). "Triumph of the Will (Special Edition) [Film]." United States:Synapse

Films.8. aÉ bÉ Butcher, Edmund. (2002). "Leni Riefenstahl - Art and Propaganda in Triumph of the Will [23]." Questions the

popular labels of Triumph as "art" or "propaganda".9. aÉ Winston, Brian. (1997) "Triumph of the Will [24]." Subscription required.10. aÉ "Origins of Documentary film: Leni Riefenstahl" [25]. Reel Life Stories. Retrieved December 28, 2005.11. aÉ "Leni Riefenstahl: Hand-held history" [26]. The Economist. September, 2003. pp.ÉXX.12. aÉ bÉ Rising, David (9 September 2003). "Hitler's filmmaker Leni Riefenstahl, revered and reviled for her work,

dies at 101" [27]. Associated Press. pp.ÉXX.13. aÉ Petropolous, Jonathan (11 September 2003). "Leni Riefenstahl, Coy Propagandist Of the Nazi Era" [28]. Wall

Street Journal. pp.ÉXX.14. aÉ Harding, Luke (10 September 2003). "Leni Riefenstahl, Hitler's favourite film propagandist, dies at 101" [29].

The Guardian. pp.ÉXX.15. aÉ bÉ Gavin, Philip. (2001). "Triumph of Hitler [30]." Focuses on the religious imagery and the SA controversy.

Also briefly touches on the myth of Germany as a super-organized state.16. aÉ Lenin Imports. "Leni Riefenstahl Triumph of the Will (1934) [31]." Overview of the plot and imagery.17. aÉ Chamorro, Enrique B. "DVD Comparison Triumph of the Will [32]" and "DVD Comparison Day of Freedom

[33]."18. aÉ Wolf, Naiomi. (2007). "[34]." Speech discussing recent book The End of America: A Letter of Warning to a

Young Patriot.19. aÉ Berenbaum, Michael (2007). The World Must Know: The History of the Holocaust As Told in the United

States Holocaust Memorial Museum. Washington, D.C.: United States Holocaust Memorial Museum. pp.É24Å25.ISBNÉ0316091340.

Triumph of the Will 11

References[1] Rise and Fall of the Third Reich. William L. Shirer. 1960. Simon and Schuster. p. 230.[2] "Show Triumph of the Will: 46:55-1:00" (http:/ / www. humboldt. edu/ ~go1/ sed741/ film/ triumph. html). .[3] Hinton, David. "Triumph of the Will: document or artifice?" (http:/ / links. jstor. org/ sici?sici=0009-7101(197523)15:1<48:"OTWDO>2. 0.

CO;2-8). JSTOR. .[4] "Film" (http:/ / www. gymnasium-dinkelsbuehl. de/ hs/ fachsch/ propaganda/ Film/ hauptteil_film. html). Gymnasium-dinkelsbuehl.de.

2004-08-10. . Retrieved 2010-06-04.[5] "Christianity in Europe during WWII" (http:/ / www. nobeliefs. com/ ChurchesWWII. htm). Nobeliefs.com. . Retrieved 2010-06-04.[6] "Facts about Germany: Religions" (http:/ / www. tatsachen-ueber-deutschland. de/ en/ society/ content/ background/ religions. html?type=1).

Tatsachen-ueber-deutschland.de. . Retrieved 2010-06-04.[7] Carl Rollyson (2007-03-07). "Leni Riefenstahl on Trial" (http:/ / www. nysun. com/ arts/ leni-riefenstahl-on-trial/ 49944/ ). The New York

Sun. . Retrieved 2008-11-02.[8] Veith, Gene E.. Modern Facism: The Threat to the Judeo-Christian Worldview. St. Louis: Concordia Publishing House, 1993.[9] Snowball, David. Lecture from Class March 16th, 2010[10] "Leni Riefenstahl | Triumph of the Will (1934)" (http:/ / www. leninimports. com/ triumph_of_the_will. html). Leninimports.com. .

Retrieved 2010-06-04.[11] Williams, Val (2003-09-10). "Leni Riefenstahl" (http:/ / www. independent. co. uk/ news/ obituaries/ leni-riefenstahl-548728. html). The

Independent. pp.ÉXX. .[12] (The Germans and the Final Solution)[13] Ebert, Roger (2008-06-26). "Review: Triumph of the Will (1935)" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/

20080626/ REVIEWS08/ 911177318/ 1004). Sun-Times. . Retrieved 2009-01-06.[14] ( "Fascinating Fascism" in B. Nichols (ed.) Movies & Methods, 1976)[15] Susan Sontag. "Fascinating Fascism" (http:/ / www. nybooks. com/ articles/ 9280). The New York Review of Books. .[16] "Triumph of the Will: Encyclopedia II - Triumph of the Will - Influences and legacy" (http:/ / www. experiencefestival. com/ a/

Triumph_of_the_Will_-_Influences_and_legacy/ id/ 5545250). Experiencefestival.com. . Retrieved 2010-06-04.[17] http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 19940624/ REVIEWS/ 406240302/ 1023[18] http:/ / 1971films. com/ Victory_of_Faith_Triumph_of_the_Will. htm[19] http:/ / www. filmeducation. org/ secondary/ TriumphOTW. html[20] http:/ / www. kamera. co. uk/ features/ leniriefenstahl. html[21] http:/ / classes. design. ucla. edu/ Spring04/ 161A/ projects/ Wes/ Exercise_B/ mainpage. html[22] http:/ / www. nytimes. com/ 2003/ 09/ 09/ obituaries/ 09CND-RIEF. html?ex=1135746000& en=9e79380becebb8dd& ei=5070[23] http:/ / www. geocities. com/ ebutcher1/[24] http:/ / www. historytoday. com/ dt_main_allatonce. asp?gid=13840& g13840=x& g10254=x& g30026=x& g20991=x& g21010=x&

g19965=x& g19963=x& amid=13840& e=true[25] http:/ / www. lib. berkeley. edu/ MRC/ reellife/ riefenstahl. htm[26] http:/ / www. economist. com/ displaystory. cfm?story_id=2051630[27] http:/ / www. signonsandiego. com/ news/ world/ 20030909-0525-obit-riefenstahl. html[28] http:/ / www. opinionjournal. com/ la/ ?id=110003997[29] http:/ / www. guardian. co. uk/ international/ story/ 0,3604,1039001,00. html[30] http:/ / www. historyplace. com/ worldwar2/ triumph/ tr-will. htm[31] http:/ / www. leninimports. com/ triumph_of_the_will. html[32] http:/ / www. dvdbeaver. com/ film/ DVDCompare4/ triumphofthewill. htm[33] http:/ / www. new. dvdbeaver. com/ film/ DVDCompare4/ dayoffreedom. htm[34] http:/ / www. youtube. com/ watch?v=RjALf12PAWc& eurl=http:/ / pandagon. blogsome. com/ 2007/ 11/ 01/ creeping-fascism/

Ü "An Evil Faith." (http:/ / 1971films. com/ Victory_of_Faith_Triumph_of_the_Will. htm). "Victory of Faith &Triumph of the Will: Her Propaganda Marches On". Retrieved October 25, 2005.

Ü Cheshire, Ellen (2000). "Leni Riefenstahl: Documentary Film-Maker Or Propagandist?" (http:/ / www. kamera.co. uk/ features/ leniriefenstahl. html). Kamera.

Ü Riding, Alan (9 September 2003). "Leni Riefenstahl, Filmmaker and Nazi Propagandist, Dies at 101" (http:/ /www. nytimes. com/ 2003/ 09/ 09/ obituaries/ 09CND-RIEF. html?ex=1135746000& en=9e79380becebb8dd&ei=5070). New York Times. pp.ÉXX.

Ü Riefenstahl, Leni (director). (1935). Triumph of the Will (Special Edition) (http:/ / www. synapse-films. com/shopping_cart/ triumph. htm). [Film]. United States: Synapse Films. (Includes film commentary by Dr. AnthonySantoro and essay by Roy Frumkes)

Triumph of the Will 12

Ü Smith, David Calvert (1990). Triumph of the Will: A Film by Leni Riefenstahl (http:/ / www. geocities. com/emruf4/ triumph. html). Richardson, TX: Celluloid Chronicles Press. (Complete Screenplay)

Ü "Triumph of the Will" (http:/ / www. historyplace. com/ worldwar2/ triumph/ tr-will. htm). The Triumph of Hitler.Retrieved November 3, 2005.

Ü Oliver Grau (Ed.): Mediale Emotionen: Zur Lenkung von GefÅhlen durch Bild und Sound, Frankfurt 2005.Ü "Triumph of the Will" (http:/ / classes. design. ucla. edu/ Spring04/ 161A/ projects/ Wes/ Exercise_B/ mainpage.

html). Retrieved December 26, 2005.Ü Welch, David (1993). The Third Reich Politics and Propaganda (http:/ / en. wikipedia. org/ wiki/

The_Third_Reich). New Fetter Lane, London: Routledge. pp.É65Å72. ISBNÉ0415090334.Ü Deutsch, Bernard S (1934). Pierre Van Paassen. ed. Nazism: An Assault on Civilization (http:/ / en. wikipedia.

org/ wiki/ Nazism). New York, NY: Harrison Smith and Robert Haas. pp.É41Å43.Ü Kershaw, Ian (1987). The Hitler Myth. Oxford, NY: Oxford University Press. pp.É48Å49. ISBNÉ0198219644.Ü Bankier, David (1992). The Germans and the Final Solution. Cambridge, MA: Blackwell Publishers. pp.É48Å49.

ISBNÉ0631179682.Ü Shrier, William (1960). Rise and Fall of the Third Reich. Simon & Schuster. p.É260.

Further readingÜ Shirer, William. Berlin Diary: The Journal of a Foreign Correspondent 1934-1941. New York, Alfred A. Knopf,

1941. Includes a contemporary account of the 1934 Nuremberg rally.

External linksÜ Triumph of the Will (http:/ / www. youtube. com/ watch?v=GcFuHGHfYwE) - full movie with English subtitles

at YouTubeÜ Triumph of the Will (http:/ / www. imdb. com/ title/ tt0025913/ ) at the Internet Movie DatabaseÜ Triumph of the Will (http:/ / www. archive. org/ details/ Triumphofthewill) available for free download at the

Internet Archive [more]

Ü Triumph of the Will (http:/ / www. allmovie. com/ work/ 51040) at AllmovieÜ Das Blaue Licht: The Art of Leni Riefenstahl (http:/ / www. dasblauelicht. net/ new_page_2. htm) Unofficial

biographical website endorsed by the Riefenstahl Estate.Ü Invitation from Riefenstahl to Julius Streicher (http:/ / www. ns-archiv. de/ system/ kultur/ riefenstahl/

einladung-streicher. php) to the premier of Triumph. (German)

Ü Hitler Assumes Command (http:/ / www. learningcurve. gov. uk/ focuson/ film/ film-archive/ player.asp?catID=2& filmID=6& subCatID=7) Movietone newsreel incorporating the "Lambeth Walk" re-edit

Ü Leni Riefenstahl: Triumph of the Will (http:/ / www. leninimports. com/ triumph_of_the_will. html)Ü Triumph of the Will; Influcence and Legacy (http:/ / www. experiencefestival. com/ a/

Triumph_of_the_Will_-_Influences_and_legacy/ id/ 5545250)

Article Sources and Contributors 13

Article Sources and ContributorsTriumph of the Will ÉSource: http://en.wikipedia.org/w/index.php?oldid=384335454 ÉContributors: AKGhetto, AaronSw, Aaronbrick, Ace42, AckJohn, Adhammaqbool, Adraeus,AgnosticPreachersKid, Agradman, Ajaxkroon, Alanbly, Alfons2, Alhutch, Alsandro, Altenmann, Andrew Levine, Andrew777, AndrewMcQ, Andrzejbanas, Angel ivanov angelov,Anghammarad, Anville, Apostrophe, Aramgutang, Argentinian jackalope, Asfarer, Ashley Pomeroy, Atypicaloracle, AurÖola, Bacteria, Barberio, Beaumont, Ben Standeven, Bensin, Benstrider,Bereavedheroz, Beta m, BlueSalo, Bobblewik, Bomkia, Bookofjude, BorgQueen, Brequinda, Brian0918, Brighterorange, Bucketsofg, Bytwerk, CalJW, Calaf, CanadianCaesar, Chimeric Glider,Chochopk, Clawson, Cmdrjameson, Cmlau, Colonies Chris, Conti, Conversion script, Cop 663, Copperchair, CrucifiedChrist, Crumbleguy, Cryptoid, Cuchullain, Curps, Cybercobra, D-Clancy,D6, DWRoelands, DaMaul, Dale Arnett, Dalstadt, Dancing babies, Danny, David Gerard, Debresser, Deckiller, Delirium, Deltabeignet, Deror avi, Detruncate, Dina, Dispenser, Djinn112,Dudeman5685, DuncanHill, Duncancumming, Eastlaw, Ed Fitzgerald, El C, Elb2000, Ellsworth, Elrith, Erik, Es uomikim, Ettrig, Evadb, Ewlyahoocom, Fastnaturedood, Fayenatic london,FeanorStar7, Fredrik, Freedigger1, FunnyYetTasty, Furrykef, GCarty, GDonato, Gaius Cornelius, Gerbrant, Gigacephalus, Glockenspiel, Gloriamarie, Goingtoalaska, GraemeL,Grandpafootsoldier, Grayme, GusVanDean, Gustavb, HalfShadow, Hamiltondaniel, Haukurth, Heburnslikethesun, Hellbus, Hisownspace, Historyted, Hohns3, Icaros88, Ignatzmice, Ikescs,Interrobamf, Ixfd64, JIP, JShawkee22, Jack Merridew, Jaksmata, Jayjose (JJ), Jeeklow, JeffW, Jeffrey Mall, Jeffrey O. Gustafson, Jeffreymcmanus, Jengod, John of Reading, Johnleemk,JonRoma, Joshuapaquin, Jossi, Jpatokal, Jwrosenzweig, Kaisershatner, Kaobear, KarlFrei, Kayman1uk, Kbdank71, Ken Arromdee, Kimchi.sg, KoyaanisQatsi, Kpjas, Krpors, Kusma, Kyorosuke,LAndrew, La goutte de pluie, Lance6968, Lapinmies, Leandrod, Lightmouse, Ligulem, Llywrch, Louis Do Nothing, Luftwafe69, Lugnuts, Lupin, MShariat, Mabuse, Magioladitis, MagneticJJ,Malx2007, Mankar Camoran, Martial75, Mattbrundage, MaxMangel, MechBrowman, MegX, Meggar, Melchoir, Mendaliv, MisfitToys, Missmarple, MisterBee1966, Mohamednazmi,Montrealais, N.o.bouvin, Naaman Brown, Nakon, Naufana, Neutrality, Ninjachu, Nishkid64, Noname 88, Notheruser, Novizos, Nsk92, Num1dgen, Oh yeah thats it, OlEnglish, Opponent,Ortolan88, Ottawastudent, Palm dogg, Parsecboy, Pascal.Tesson, Paul Magnussen, Pdcook, PersonMan92, PeterReid, Phil Boswell, PhilipPage, Philwelch, Pigsonthewing, Pkkphysicist,Plasticspork, Plastikspork, Postdlf, Postrach, PuzzletChung, RJMIX, Racklever, Rahnle, Randomplanck, Raul654, RayAYang, Rd232, Redthoreau, Retired username, Rich Farmbrough, Rich257,Richiekim, RickK, Ridethatpony35, Rje, Rjwilmsi, Robert Merkel, RobertG, Roscelese, RugerMK1, S711, SE16, [email protected], Sam, Samuel Blanning, Sandius, Sandstein, Sanfranman59,Scaife, Scottandrewhutchins, Shanel, Sheeyeung, Shii, Shimbo, Silsor, Simbafan34, Skeptical scientist, Skier Dude, Slowhand934, Smoovejohnson, Sohailstyle, Someoneinmyheadbutit'snotme,Splash, Starionwolf, Starwarsrebel, Steffen LÄwe Gera, Stevage, Stillstudying, Str1977, Sugar Bear, Sukiari, Supreme Bananas, Swift, Symplectic Map, Synthe, Syrthiss, TJLives, TMC1982,Tawker, Teatreez, Teflon Don, Tennoztennoz, That Guy, From That Show!, The Catfish, The High Commander, The JPS, The PIPE, The Wookieepedian, TheAznSensation, Thecrassone,Theoneintraining, ThinkingTwice, Thomasolson, Thorsen, Thorwald, Tiggs000, Titoxd, Toddst1, Todfox, TomS TDotO, Tony1, Toresbe, Tothebarricades.tk, TraxPlayer, Tregoweth, Treisijs,Tumblingwall, TwoRaider, TypoDotOrg, UberCryxic, UkPaolo, Unidyne, Urchin, Ursatz, Utcursch, Uthanc, VEKTA, Vanished User 03, Vanished user, Varlaam, Vidor, Viriditas,Voyagerfan5761, Vremya, WAS, Wakuran, Wayward, WesleyDodds, WhisperToMe, WickerGuy, William Allen Simpson, Wixie2006, Wolfnissy, Woohookitty, WpZurp, Wstrwald,Wutschwlllm, Wyss, Xiao Mai Chung, Xicer9, Y2kcrazyjoker4, Yeastbeast, Zone46, Zsinj, á, àâäãåçéèéê, 355 anonymous edits

Image Sources, Licenses and ContributorsFile:Triumph des Willens poster.jpg ÉSource: http://en.wikipedia.org/w/index.php?title=File:Triumph_des_Willens_poster.jpg ÉLicense: unknown ÉContributors: Wstrwald

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