By Juan Barquin
By Amy Nicholson
By Alan Scherstuhl
By Travis Cohen
By Juan Barquin
By Stephanie Zacharek
By Amy Nicholson
By Juan Barquin
Ten minutes into The Great Leap a smiling, beautiful young woman scampers effortlessly up a similar peak in the Dolomite Alps, the same daunting mountain range conquered by mighty Sly. The year is 1927, and the woman is working without benefit of nets, ropes, stunt doubles, or camera tricks. Unlike the heavily muscled Rambo-meister, she is slim and about as powerfully built as your average Vogue model. Oh, and one other thing. She's barefoot.
Fast-forward 65 years or so. Somewhere off the Maldives Islands, under 100 feet of water in the Indian Ocean, a giant stingray sweeps by a cameraman on the ocean floor. The creature's lethal, whiplike tail swishes back and forth behind it, deadly as a downed power line. A second scuba diver approaches the ray from above and, ingenuously as a child, strokes the animal's back. If she is the least bit afraid of being stung by the toxic appendage, she doesn't show it. When the divers surface you realize that this underwater adventurer is no child. On the contrary: At 90, she is probably the world's oldest scuba diver.
But then, as the stunning cinematic biography The Wonderful Horrible Life of Leni Riefenstahl makes abundantly clear, taking chances is nothing new for this remarkable woman. From Alpine nymph and alluring daredevil to controversial Third Reich propagandist to Greenpeace member and underwater documentarian, Leni Riefenstahl's legend is larger than life. She is one of the Twentieth Century's greatest enigmas, and while this film never really solves the many riddles that have swirled around her A How much did she know about Hitler's agenda and when did she know it? If she understood what was going on, why did she cooperate? Was she Nazi-propaganda boss Joseph Goebbels's lover? Were her two greatest films, 1934's Triumph of the Will and 1938's Olympia, conscious attempts to glorify the Third Reich or merely the result of a visionary artist struggling to make the best films possible? Does all of her work espouse, consciously or unconsciously, a "fascist aesthetic?" And what exactly are the moral responsibilities of an artist? A it provides a riveting, unprecedented look at her extraordinary life.
As a teenager Riefenstahl just wanted to be a dancer. She left home and, defying the odds, quickly became a popular sensation. While at the peak of her dancing success, Riefenstahl viewed one of the mountain films of German director Arnold Fanck and was awestruck. In typically brash style, she walked up to Luis Trenker, Fanck's favorite leading man, and announced, "I'm going to be in your next picture." Trenker had good reason to be skeptical; after all, Riefenstahl was neither a mountain climber nor an actress. But after one look at the striking 23-year-old's photograph, Fanck started writing a featured role for her. Move over, Luis.
Riefenstahl was no pampered leading lady. Fanck insisted on authenticity and routinely placed his actors in dangerous situations. Wonderful Horrible offers clips from several of these early films, scenes that attest to Riefenstahl's athletic prowess and tenacious spunk. In addition to goading her into the above-mentioned barefoot rock climbing, Fanck talked the erstwhile hoofer into allowing him to suspend her by a few thin ropes over a sheer precipice while pounding her with an avalanche of snow and ice. The avalanche, one of several that Riefenstahl would endure for Fanck's cameras over the years, was supposed to be a small-scale, man-made affair. Instead, it roared out of control and nearly killed the actress. A star, as they say, was born.
While several of her German film contemporaries -- notably, Dietrich and Von Sternberg A emigrated to the U.S., Riefenstahl stayed in Germany and parlayed her fame into the formation of her own production company, an unheard-of accomplishment for a woman. The outfit released its first picture in 1932, The Blue Light A written, directed by, and starring Riefenstahl. Among the film's admirers was Adolf Hitler.
So began an association that would result in Riefenstahl's groundbreaking documentary on the 1934 Nazi rally in Nuremberg, Triumph of the Will. The filmmaker and the future dictator were mutual admirers. "He radiated something very powerful," she remembers in Wonderful Horrible. "As a man he did not interest me at all. [But I sensed] a kind of demonic power of suggestion that frightened me. I did not want to lose my own will and freedom." For his part Hitler saw in Riefenstahl the flesh-and-blood embodiment of all the superhuman ideals -- physical beauty, strength, athletic prowess, intelligence, artistic talent -- that he desired for himself and for his master race.
Third Reich architect Albert Speer designed and stage-managed the Nuremberg rally. The entire spectacle was mounted with Riefenstahl's cameras in mind. The director perfectly harnessed Hitler's peculiar star power; her film provided the first closeup glimpse most Germans had of their leader. The result was devastating. Triumph of the Will became the most powerful propaganda movie ever made. Riefenstahl's innovative artistry and technical prowess elicited comparisons to Griffith, Welles, and Eisenstein. But perhaps the most amazing thing about Triumph was that Riefenstahl, a woman and a non-Nazi, had been tapped to film the Party's holiest hour.
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