Triumph of the Will After

¶ … Triumph of the Will

After having started to work on her movie, Triumph of the Will, intending it to be a reminder meant for future generations to observe how the Third Reich began, German director Leni Riefenstahl eventually came up with a final product that is more likely to belong to the propaganda genre rather than to the documentary one. The film provides insight on how Adolf Hitler managed to attract numerous supporters with the help of his exceptional (and at the same time shocking) oratorical abilities. When leaving aside any preconceptions relating to the fact that the motion picture was made by the Nazis and for the Nazis, the result is indeed a brilliant piece of work, with the director's influence being mainly responsible for the success that it had (and even for the reactions that it triggers in the audience today).

Riefenstahl succeeded in taking propaganda to a whole new level, one involving the art of motion pictures. Bringing together factors such as the impressive landscape in Nuremberg, the good organizing from behind the cameras, and the feeling of abundance, the director succeeded to make the most important Nazi film in the era.

In spite of the fact that the methods employed in making the movie were rudimentary, the audience is prone to be impressed by the talented cinematography and editing. The movie's effectiveness can be observed through the feelings that it leaves in individuals who see it. The film definitely raises questions concerning Nazism and concerning how such a film can be partly considered responsible for the horrors happened during the Second World War. Because of the values that it promotes, certain people are likely to ignore its artistic qualities, thinking that it is irrelevant whether or not it is to be considered art.

The movie has nothing to do with WWII when considering its potential to serve as historical information, as it has mainly been created with the purpose of promoting the Nazi ideology. Nevertheless, the film can still be valued if the audience were to consider that it belongs to the fictional genre. All in all, Triumph of the Will is a movie that shows the insane devotion to Nazism and how the masses can be influenced by severe propaganda.

The motion picture was presented to the public in 1935, a year consequent to the action taking place in it. The story of the 1934 Nazi party rally in Germany depicts best the situation in Germany at the time. It was not just Riefenstahl who believed that Nazism was the answer to all of her country's problems, as most of the German public shared this belief.

At the time when the film got out, it was basically fuel for the pro-Nazi sentiments in Germany. However, it is uncertain if one would do right attributing WWII horrors to it, considering the fact that Nazism was already in a very powerful position at the time and that it would have had surely strengthened its position with or without the film. The movie was one of the many factors that made it possible for Hitler's reputation to grow.

The very start of the movie makes it obvious (at least for those who see it today and are aware of the actions having occurred during WWII) that it is not intended to be a simple documentary film. The director wants the public's attention to be captured from the first minutes of the motion picture. Firstly, people are presented with some of the motives for which Germany was presumably drained of its resources and thrown into a general state of poverty. Secondly, they are taught that none of Germany's leaders starting with the end of the WWI and until Hitler did something in order to improve conditions in the country were worthy of leading the German nation. Thirdly, Hitler is introduced to the masses. Apparently, he is responsible for the country's economic development as well as for the nation's increased self-awareness, as he brought forward a wave of rebirth, causing Germany to be among the world's leading nations once again.

Consequent to the historical account in the movie, the director uses a small plane flying through the clouds and over the legendary city of Nuremberg, with the probable intention of making a reference to the German gods from ancient times, and to Valhalla.

Given the fact that Nuremberg is of a great historical value to the Germans, the director made an appeal to their sentiments involving the beginnings of the German nation. Nuremberg is also renowned for the great number of reformation churches that it holds, and taking into account that the film is meant to present the transformation Germany went through, it is perfectly obvious that the concept of rebirth is again brought into attention. It is not surprising that the person getting out of the plane is none other than Hitler himself, the father of the newly reborn German people and of the Third Reich.

Hitler is not meant to be presented as a military figure, but rather as a great leader and as someone as human as everyone else. His civil clothes further contribute to this impression, making it clear that Hitler is meant to lead Germany to glory for everyone, and not just for a particular group of individuals. Even though notorious people such as Ernst Rohm, Heinrich Himmler, and Joseph Goebbels were already known to be around Hitler at the time, the German leader is shown as a solitary character during the whole time covering his procession, when entering Nuremberg.

A German mother with a baby in her arms leaves the lines in the crowd in order to salute her Fuhrer. This scene might seem exaggerated for the contemporary viewer, as it is supersaturated with its stereotypical character. However, considering the stage the cinema was in 1935, the public back then is likely to have been impressed by the episode. Armed troops are present throughout the entire parade, suggesting the physical power of armed forces being ready to act at any given moment.

Throughout the movie, Nazis are constantly associated with the celebrated people that contributed to building the German empire and who were responsible for the Reformation in Germany. Riefenstahl superbly manages to blend Nazi icons into the historical background of Nuremberg. Restructuring is apparently yet again a key element in raising Germany from its ashes.

In the morning of the rally, young Nazi supporters are shown as they clean themselves, alluding to the fact that the party's followers are pure. The director insists on the cleaning scenes, with the credible intention of wanting the public to understand how Nazism is related to spotlessness. Another reference to the earlier Reformation ages is when Hitler is welcomed by peasants at sunrise.

In a time when conditions seemed to be critical (not just in Germany, but also around the world, with the effects of the Great Depression still in place) Hitler and his Nazi acolytes emerge as Germany's only salvation. Riefenstahl shows how young individuals that would have likely been unemployed were given a purpose and an ideal.

Aware that the late German President, Paul von Hindenburg, was known to be against most of Hitler's beliefs, Riefenstahl took advantage and incorporated the tribute paid by the Nazis to the former president. This made the German public feel as if they should support Hitler because of his affinity for Hindenburg. All the speeches are heavy with Nazi propaganda, as the director reinforces the Nazi set of guidelines by only showing key phrases in the motion picture.