I can never imagine that "Triumph of the Will" was made by a woman, just as I can't imagine that this great documentary was funded by the Nazis and made for the Nazi leader Hitler; I can't imagine that she could use the Olympic spirit in "Olympic" The most perfect shot is shown in the eyes of everyone, and this documentary is also in the service of the Nazis. The woman's name is Leni Riefenstahl. A beautiful woman, a sinful rose. Later generations judged her this way. When crime is clothed with beauty, when Nazis walk the world in the name of art, Riefenstahl, this beautiful woman who lived 101 years old, is destined to be in a huge vortex of controversy and blame for the rest of her life, even after death It will never be possible to escape people's "word of mouth". However, her life has left a proposition for human art that will never be answered or unsolved: "Beauty and non-beauty, sin and non-sin, when they are intertwined, how should we define and evaluate them? Does the flower that grows out of poisonous thorns have the right to have its own fragrance and color? (Note 1)." Great and notorious, beautiful and sinful. Such a set of contradictory words is so perfectly embodied in this woman, and thoroughly implemented into every scene of the film "Triumph of the Will". . In 1934, Nuremberg, the Reich Congress was about to be held, Hitler wanted to take this opportunity to promote the renaissance of Germany, so he ordered Riefenstahl to shoot "Triumph of the Will", and gave her all the film directors could not. Imaginary shooting conditions: unlimited funding, a film crew of more than 100 people, countless spotlights, 16 first-class photographers, a huge camera team composed of 30 cameras started work at the same time, 22 cars equipped with drivers and bodyguards. The mobile police officers in uniform are all under the command of Riefenstahl at any time. Nuremberg even built special bridges, towers and slopes for filming, so that Riefenstahl's camera can go to the sky and do anything. . The previous year, she was commissioned to shoot a film about the Nazi party congress, "The Victory of Loyalty", but the reaction was mediocre. During the Nazi era, many conscientious artists were reluctant to cooperate with dictators. They were either exiled abroad or put into concentration camps. Only a few were willing to serve the Nazis. Riefenstahl was the most prominent one. , her admiration for Hitler came from the heart, seeing Hitler as the savior of the people. In her view, it was Hitler who freed the Germans from the prolonged depression and national inferiority complex after World War I. This idea runs through "The Triumph of the Will", and at the same time, because of her admiration for Hitler, she also makes the Nazi leader extremely perfect and great in "The Triumph of the Will". . ??。. "Victory of the Will." The most definitive propaganda film in history, conceived by the Nazis, made for the Nazis, and about the Nazis. The film begins with a cloudy sky that sets off the turmoil in Germany, showing a chaotic world awaiting the creation of the Creator. Then the sky gradually brightened, and the image of the Third Reich gradually became clear. A plane disappears and disappears through the clouds and fog. The masses on land look up and wait. The plane finally landed, the hatch opened, and Hitler descended from the sky. Suddenly, cheers resounded through the sky. Nuremberg, a city with a medieval atmosphere, is crowded with a welcoming crowd, the national flag flutters in the wind, cars slowly move forward in the crowd, and finally the scene of the parade ground, a large number of armored combat vehicles rumbled neatly past . Then a subtitle appeared on the screen: "September 5, 1934, 20 years after the outbreak of the World War, 16 years after the beginning of Germany's suffering; 19 months after the start of the new Germany, Adolf Hitler came back to Nuremberg to review his loyal followers. troop." Then, a seditious speech by the Nazis. Hitler's demagoguery speeches... Evaluating Triumph of the Will in terms of historical value, it actually shows historians how the Nazi government grew through propaganda, and how Hitler used his unparalleled and terrifying language skills to incite the masses and instilled in them Nazi ideology. But the film confounded many and made them resolve to gather under Hitler's banner. Therefore, its huge publicity success is "unforgivable". In order to make this film, Riefenstahl did everything possible to fully demonstrate her strong filmmaking style. Anything that conflicts with her aesthetic requirements, no matter how important the content of the film is, will be She was ruthlessly excluded. All images in the film must be shot in the most beautiful light, in the most beautiful angle, with the correct exposure and shooting angle. And to get that look, she shoots with dozens of cameras from all angles, then selects the image she needs from the vast amount of film shot that way, and edits it out of 170,000 feet of film. this movie. As a talented and well-trained dancer, she has just the right grasp of the film's rhythm and movement, making this a work of visual expression. The connection and transformation between melody, rhythm, and movement can be described as seamless, and the rhythm, gao and intoxication generated by the ever-changing pictures become the keynote of her films. Riefenstahl is also good at using still images to give them an abrupt effect as a pause. The idea of Nazism is transformed into an intoxicating visual fantasy in her spectacular renditions. Therefore, so far, many countries that are opposed to Hitler have borrowed most of the content in "The Triumph of the Will" into their anti-war propaganda films, and none of them have used it. Hitler's diabolical nature and deprivation of human self-control is so vividly displayed—the truth it reveals is forever chilling. No wonder the French film historian Georges Sadour remarked: "It inadvertently becomes a very meaningful source, exposing the duality of the regime it extols, the politeness on the surface and the savagery on the inside. Riefenstahl, "the most imaginative propagandist of Nazi self-expression", with superb technical and aesthetic achievements, made himself a success and left a legacy for future generations. A mirror that reflects the history of sin, although it is "unintentional", although the content and ideas expressed are notorious. But artistically, aesthetically, she is great. (Note ①: From "The Memoirs of Riefenstahl" (Xuelin Press, 2007) "Translator's Foreword".) Therefore, so far, many countries that are opposed to Hitler have borrowed most of the content in "The Triumph of the Will" into their anti-war propaganda films, and none of them have used it. Hitler's diabolical nature and deprivation of human self-control is so vividly displayed—the truth it reveals is forever chilling. No wonder the French film historian Georges Sadour remarked: "It inadvertently becomes a very meaningful source, exposing the duality of the regime it extols, the politeness on the surface and the savagery on the inside. Riefenstahl, "the most imaginative propagandist of Nazi self-expression", with superb technical and aesthetic achievements, made himself a success and left a legacy for future generations. A mirror that reflects the history of sin, although it is "unintentional", although the content and ideas expressed are notorious. But artistically, aesthetically, she is great. (Note ①: From "The Memoirs of Riefenstahl" (Xuelin Press, 2007) "Translator's Foreword".) Therefore, so far, many countries that are opposed to Hitler have borrowed most of the content in "The Triumph of the Will" into their anti-war propaganda films, and none of them have used it. Hitler's diabolical nature and deprivation of human self-control is so vividly displayed—the truth it reveals is forever chilling. No wonder the French film historian Georges Sadour remarked: "It inadvertently becomes a very meaningful source, exposing the duality of the regime it extols, the politeness on the surface and the savagery on the inside. Riefenstahl, "the most imaginative propagandist of Nazi self-expression", with superb technical and aesthetic achievements, made himself a success and left a legacy for future generations. A mirror that reflects the history of sin, although it is "unintentional", although the content and ideas expressed are notorious. But artistically, aesthetically, she is great. (Note ①: From "The Memoirs of Riefenstahl" (Xuelin Press, 2007) "Translator's Foreword".)
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