"We fought side by side in the marshes, we blocked the waters of the North Sea. We built roads, from country to country, from city to city, and we provided farmers with fertile land, forests, pastures and bread." The genius of the camera had long known that, What was unexpected were the political slogans in the Germanic accent. How familiar. I was surprised to hear the following words: ideal. comrade. struggle. labor. class. nationality. society. Progress. sacrifice. people. Long live. The most frequent group is construction. When the SS in the dark sang in unison, I found that the song was equally passionate and inspiring. Fireworks and bonfires are in full bloom in Nuremberg night, and the crowd is also watered by flowers of joy and ideals. The girls' rounded calves were lightly raised, and the young pioneers who beat their waist drums also had the same damn innocence and hope. How similar. The scene from yesterday was melted. With my hand on the pause button, I asked myself: How similar is Marx to Hitler? People who pursue communism and justice have the same celebrations and slogans as fascists? Or are these beautiful political words in the same line, with a twin-like arrangement and strictness in the language family, no matter what kind of pilgrimage they take, they can still maintain their loyalty to the bloodline?
Ceremony, ceremony. Is it the ritual that obscures the natural laws of the mind, or does religion originate from a grand, flaming collective carnival surrounded by the scene? Even Riefenstahl was fascinated by this ritual and consciously served as a propaganda ambassador in the Hitler era. Later, when I watched "Underwater Impressions" on the same video site, the 100-year-old female director narrated the film about her diving career in a lover's tone, and the scenes that followed were as innocent as children. As the music and the reef fish floated toward me, the image of Liffin Starr came to my mind again: she was a naive woman. Such a shot is almost naked, and there is no shadow of war. If the sea and the divers living in the secluded form a closed, spectral-like fairy tale world, then the cleanliness of Lifenstahl for twenty years is her A carefully constructed fence. It's strange how clean and enjoyable it is, yet if this 2002 documentary reminds me of anything, it's her film Triumph of the Will more than sixty years ago. The vines are covered with cobblestones, and the moss is old and the name is old, but after the dust, permafrost, and hardness of the years are removed, the brick wall shows the same texture and veins. If the impossible is given a possibility: let the political factors that are hunted by the world disappear from the background, then the "Triumph of the Will" we see is exactly what a director created more than 60 years ago with enthusiasm. her own fairy tale. Whose funding did not matter to Lieffenstahl at the time, the important thing was that she could shoot a work for herself, for Adolf Hitler, whom she admired, that both of them were fascinated by, and spend half of it. The eyes of the century after the past: this film is even clean without political desire. Lenny is a recorder. She uses the camera to practice her ideals, and she uses the camera to record beauty. The overwhelming crowds and strong slogans on Nuremberg Platz seemed to her beauty. The stern uniform of the SS was the beauty of the summoned power she felt in the mountains and the snow. Five years from now she will be devastated in Polish soil, she will find that her naivety has almost equaled her mistakes, but at this time she is busy shaking. She was stunned by the hypnotism of the scene, and she commanded the busy swarm like a queen, with all the cameras at the ready at this time just for a brilliant recorder.
If it wasn't for Riefenstahl, how could you feel the dazzling magic of the scene? Those swishing guns, the common cold and frenzied silhouette, the deep, passionate guttural voice, and those old men, women, blond Aryan babies, shed for the revivals and dreams that come before us. Happy tears? If it weren't for Riefenstahl, who made Hitler's fingers seem secretive with an angle close to the sky, how could this arrogant orator be able to quickly occupy the spiritual heights of his imperial subjects with his spirit?
Not only the Third Reich, but the movie empire was born at the same time, day and night. Although Luis Buñuel, Roberto Rossellini, Ilya Kazan, Maurice Chavarire have been produced before, Pierre Pasolini, Roman Polanski, the morality of the artistic elite is forever mixed with politics and all kinds of stinky stuff. Anything about Judaism or World War II was enough to make sensitive American censors put up their ears and listen to the Nazi movement, and "Triumph of the Will" could only be screened internally with a gloomy brand, and the weak-willed people lowered their eyelashes , dodge the spells shot on the screen. Lieffen Starr in the grave might imagine her less-than-honest movie offspring with a look of naivety and resentment, no way, we're walking on thin ice. Once embraced by this overwhelming hurricane, the stillness of onlookers involuntarily burns into a desire to participate and to be identified, a secret spiritual accomplice. This is where the human contradiction lies.
View more about The Triumph of the Will reviews
