Leni Riefenstahl Video Downloads

Part Two: Leni Riefenstahl Produktion

Other Downloads:

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• Video Downloads Part One: The Arnold Fanck Bergfilms
• Video Downloads Part Two: Leni Riefenstahl Produktion (this page!)
• Video Downloads Part Three: Miscellaneous
• Audio Downloads

Below is a selection of clips from films directed by Leni Riefenstahl, available for free download (for personal use only).*  While not every film was made under the auspices of Leni's film company, Leni Riefenstahl Produktion, all of the clips on this page were directed by her — and, as such, are her productions, of course.

* "Personal use only" means for the purpose of off-line viewing on your own computer — not for inclusion on web pages or any other collection in any transferrable medium other than Leni's Rising Star. Please feel free to link to this page, however, Leni's Rising Star requests that you do not link to the individual files themselves.

On This Page:

• Light & Shadow
• Music, Slow-Motion & Other Effects
• Beauty, Sensuality & Voyeurism
• Facial Expressions
• Olympia: Nazi Propaganda?
• HELP! Downloading & Playing RealMedia Files

Light & Shadow

While the influence of Arnold Fanck's style of directing is unquestionable in the films of Leni Riefenstahl, there are certain aspects which came much more to the foreground in her films. Although the effective use of Light, Shadow and Contrast is a hallmark of any good photographer or filmmaker, Leni's films are particularly striking in this regard.

With the night-time scenes playing such an important part in Das blaue Licht, Leni contracted with the Agfa film company to develop a film stock particularly suited for this purpose, and for creating the Illusion of night-time scenes when, in fact, the shots were done during the day. The Mountain Climbing scene shown here is especially effective in this way, with the silhouettes of Junta and Vigo (and, unbeknownst to them, the innkeeper's son, Tonio) appearing against the "night sky" as they ascend the mountain. Unforgettable perhaps even moreso is the scene in the grotto when Junta is discovered by Vigo, making very effective use of not only Light, Shadow and Contrast, but also Soft Focus in portraying the glimmering of the crystals.

Leni Riefenstahl's depiction of the fencing competition in Olympia is a brilliant example of the use of Light and Shadow on film — if not, indeed, an example of it virtually by definition of the terms. In the first portion of this clip it is the shadows that we see fencing, not the fencers themselves, however, Contrast continues to play an important part in the remainder of this sequence, with the fencers' white outfits set against the dark backdrop of the night sky.

Note: While the other clips from Olympia featured on this site are from the English-language version of the film (for the sake of accessibility for international viewers), this clip comes from the German-language version of the film. The fencing sequence (as well as the boxing sequence which follows it in the original film) is missing from most English-language versions currently available on video.

The opening sequence from Tiefland is one of the most beautiful scenes in the film, and once again the use of Light, Shadow and Contrast plays a central role in what makes this scene so memorable. Noteworthy as well is the Sensuality of Pedro's character as he sleeps (see below for additional examples of how sensuality plays a significant part in Leni's films).

Note: Rather extraordinary about this clip as well is the fact that this scene, all by itself, could actually be presented as a "short", virtually complete with a beginning, middle and an end! (Many thanks to Dr. Luc Deneulin for contributing that excellent observation!)

Music, Slow-Motion & Other Effects

While Slow-Motion and other techniques of filming/editing were obviously widely used by many directors previous to Leni (including, of course, Arnold Fanck), Leni's 1938 film of the Olympic Games which were held in Berlin in 1936 is widely considered to be one of the greatest films ever made, and is a marvel of cinematic innovation. It is truly a timeless film which pioneered a variety of techniques and styles of filmmaking which continue to be used (and copied) to this day, and which is just as remarkable to modern viewers as it was when it was first released, and which will no doubt continue to astound audiences for all time to come.

In addition to — if not hand-in-hand with — Leni's editing is her remarkable skill in synchronizing visual scenes in time with the Music. All of Leni's films make effective use of music in this way, but it is perhaps with Olympia that this was done most spectacularly.

For the men's gymnastics sequence — as well as throughout Leni's film for almost every event — Slow Motion is selectively used not just simply to provide more detail to the viewer of the athlete's actions (which is generally the only reason that this effect is used in modern sports reporting), but even moreso to build up to a crescendo and enhance the feeling of physical power. Notable throughout the film is how the different athletes portrayed in various events are shown progressively slower and slower (again, selectively): while speed is often equated with power, we can see here that the opposite can also be true, particularly with the very slowed-down sequence depicting the athletes on the rings, especially #102 (as depicted in the thumbnail image for this clip).

The final diving sequence from Olympia (there are two diving sequences) is a remarkable piece of film editing and is truly breathtaking to view, and as what is regarded as one of the greatest scenes in all of film history, this selection has become standard fare in virtually every university film studies program, making extraordinary use of not only Slow-Motion, but Reverse (backwards) and Inverse (upside-down) shots, not to mention the use of almost innumerable Multiple Angles all for the same sequence.

Beauty, Sensuality & Voyeurism

For Leni's two fictional films, Das blaue Licht and Tiefland, Sensuality plays a very significant role. Leni's portrayal of her characters' sexuality is far more subtle than the more overt manner in which many other of her contemporaries (such as Marlene Dietrich) were portrayed on the screen. What is attractive and enticing about Leni's characters is not their decadence, but rather their innocence and naiveté about their own sexuality, even as they may be behaving in a sensual way.

This clip is comprised of three sequences from Das blaue Licht.

In the first scene, we see Junta herself as Voyeur, intrigued with the character of Vigo as he first makes his way up into the mountains. The Sexual Overtones of Junta eating the fruit (not to mention the juice dripping from her lips) as she spies on Vigo is not lost on us, nor her enticement of him in playing "cat and mouse" with the fruit, innocently — or perhaps not so innocently? — offering herself to him in that way.

In the second scene, we see Junta languoring in the grass, completely entranced by the crystal that she holds in her hands, at the same time oblivious to her own Sensuality — a sensuality which, of course, Vigo finds impossible to ignore.

In the last scene shown here, Beauty, Sensuality and Voyeurism all play a part in this short sequence. As Junta sleeps, we can't help but feel voyeuristic in looking upon her with her dress slightly fallen away, leaving her semi-exposed, not to mention when she turns over, arching her back in an almost ecstatic way. Nor can we help but then also feel voyeuristic toward Vigo, too, watching him as he observes Junta in his own rather clandestine way — we are, effectively, a voyeur of the voyeur.

Leni's depiction of the natural Beauty of the Olympic athletes is also certainly an extraordinary example of Sensuality, although in this case, as naked as they are, it cannot really be said to be sexual — it truly is about Beauty and Sensuality in only the most pure, innocent and natural way. We are also given a sense of Voyeurism as well in this clip when we are let into the "secret world" of the male athletes as they cavort amongst themselves in the pond and the sauna.

Note: There are two separate sequences from Olympia shown here: the first, with the introductory nature shots and the scenes showing the male athletes, are the opening scenes from Part II of the film (Fest der Schönheit); the second segment, showing the female dancers, is from Part I of the film (Fest der Völker).

This scene from Tiefland opens once again with a moment of Voyeurism, as Pedro looks in the tavern window to observe Marta dancing inside. Despite the fact that she is dancing for an entire audience, we can't help but get the sense that he is observing something that he isn't supposed to. Marta's dance itself is also an example of Beauty and Sensuality, of course, and this is only enhanced by the fact that she is all alone, virtually surrounded by an audience of men. Further, as her dance progresses, it also becomes Voyeuristic in its own way as she gives us provocative glimpses of her legs — the sensuality of this is, of course, not lost on the one tavern patron who ultimately accosts her!

Note: For the purposes of this clip, the conversation between the Marquis and Pedro which takes place outside after the former's arrival (before he enters the tavern) has been edited out. However, as in the original, unedited sequence, we still sense the intrusiveness of the Marquis' barging into the tavern in the manner that he does. Despite the public nature of Marta's dance for the taverners, we cannot help but feel that his presence is unwelcome, that he has interrupted a more private moment between our dancer, Marta, and the audience which she has chosen to perform in front of.

Facial Expressions

Although reaction shots and facial expressions are an important part of virtually all of Leni Riefenstahl's films (perhaps even definitively so), it is in Das blaue Licht that they are given their most noticeable use.

Three separate sequences from Das blaue Licht are given here. In "Stone Faces", it is the ominous expressions of the statues which are suggestive and foreboding. In "Human Faces", we see the unforgettable sequence at the outdoor tavern, when Vigo has first arrives to town, where the melancholy is so strongly showing in the faces of all the townspeople.

Facial expressions are not reserved only for humans, though. In the "Animal Friends" sequence, as Junta returns home after her confrontation with the townsfolk, we are introduced to the symbiotic, almost magical relationship that her and Guzzi's characters have with their animals. As the dog, sheep and goats observe her arrival home, and subsequently "listen" to her telling her story, we are given a clear example of Personification in the way that the animals seem to take on human reactions and expressions.

Olympia: Nazi Propaganda?

Although virtually every artist and filmmaker dreams of "making history" with their creations, naturally Leni Riefenstahl had no intention that her films would one day become infamous. While there is no disputing the importance and ultimate propaganda value that Triumph des Willens had (as with the other two films done for the NSDAP), unfortunately most descriptions of Olympia class it as well as yet another "Nazi propaganda film".

While there are certainly various shots of Hitler and other top Nazi officials in this film, apart from Hitler's opening of the Olympic Games these amount to little more than reaction shots as the various athletic competitions take place (see the Hammer Throw clip, below). What the majority of reviewers fail to point out, however, is the truly Multi-National nature of Leni's film, depicting not only the successes of German athletes (who did indeed do extremely well at that year's Olympic Games) but those of all nations and all races of people, giving genuinely prominent notice to "non-Aryan" peoples as much as Germany's own. This failure of modern reviewers to point this out (at the time of Olympia's release, even her opponents acknowledged that the film held no propagandistic value) is not only an injustice to Leni and to her film, but is indeed an injustice to themselves. In making such statements, they effectively betray the fact that clearly they have either never even bothered to view the film at all, or they have failed to view it without jumping to conclusions about its intentions to be a piece of Nazi propaganda (and completely ignoring what they can see with their very own eyes), or else they have only selectively remembered the really fairly innocuous depictions of Hitler and/or other Nazi officials, and wholly forgotten the very positive way in which all nations, all peoples, and all races are depicted with genuine Equality.

With shots taken from interesting perspectives, along with skillful editing techniques such as the selective use of Slow-Motion, the hammer throw competition is an interesting example from Olympia for these reasons alone. However, it is perhaps more significant in a historical sense because it also depicts the most notable and prominent reaction shots of Hitler and other Nazi officials that we see in the film. In fact, apart from the opening ceremony of the games (which Hitler presided over, as head of state), there are virtually no other prominent shots of Nazi officials.

Questions:

• Do reaction shots of Hitler and other top Nazi officers such us those shown here really constitute "propaganda"? If a documentary is made of any Olympic Games from any other year, held at any other place in the world, and if the heads of state of the hosting country attend, is it not perfectly appropriate, in fact, that some reaction shots from them be included in the film (along with various other reaction shots from audience members, athletes, etc.)?
• Does the raising of the Nazi flags and the playing of the German anthem at the end of this clip constitute "propaganda"? If so, if we are to deem this to be "propaganda" in both nature and intent, then how does one reconcile that perspective and judgement with the playing of the American anthem (as in the Jesse Owens clip, below) or any of the many other anthems we hear and flags we see — not to mention all the different races whose successes are celebrated with Equality and without prejudice — in Leni's film?

Without doubt one of the most memorable sequences in Olympia features the African-American runner, Jesse Owens. The significance of this is naturally not only because of his acheivements as an athlete in his own right (regardless of race), but the "slap in the face" that his successes at the 1936 Berlin Olympics were to the Nazi ideals of Aryan superiority. Among numerous other portrayals of "non-Aryan" successes during the competitions that year, this makes Leni's Olympia historic not only as an extraordinary, truly unparalleled film record of that year's — or any year's — Olympic Games, but it could even be seen to be a personal statement of Leni's own convictions, as what is ultimately perhaps the most outstanding piece of Anti-Nazi Propaganda.

The closing shots of Olympia, which feature the famous "cathedral of light", is another beautiful example of Leni's skill at direction and editing, making exquisite use of Light, Shadow and Contrast, all synchronized beautifully with the Music of Herbert Windt. This display, however, has been a controversial one ever since its inception in relation to its association with the Nazis.

In terms of propaganda, the 1936 Berlin Games were seen overall by the Nazis as an opportunity for them to promote themselves — and it is only natural that they would see it as such, of course, just as every country does with each Olympic Games — and the "cathedral of light" which climaxed the closing of the Games was a creation of the Nazi's chief architect, Albert Speer, becoming what he himself later in life said would perhaps ultimately be the creation that he would be most remembered for. With regard to Leni Riefenstahl's Olympia, however, one must remember that it was Speer who was responsible for having created that aspect of the closing ceremonies, not Leni (indeed, Leni could hardly be said to be personally responsible for organizing any of the events which took place at the Olympic Games).

Questions:

• Regardless of how the Nazis themselves saw propagandistic value in the Games being held in Berlin at that time, should Leni's film be judged as having purposely promoted the Nazis because she included this visual spectacle which took place at this Multi-National event? Perhaps we might ask the converse, instead: wouldn't it have been inappropriate for her to have ignored this closing light show, which only naturally begs to be immortalized on film?
• What is it about something as objectively innocuous as a light show — even Speer's "cathedral of light" with its origins in Germany during the Nazi period — which makes it seem so definitively "Nazi" to us? Speer might have been the first to do it in that fashion, but similar displays have been done at other events and by other countries for all sorts of celebratory and commemmorative reasons since that time. Indeed, one can easily envision a group of Boy Scouts out on a camping trip all shining their flashlights in unison up at the night sky — and should we then admonish them for "behaving like Hitlerjugend"? Is it only "Nazi imagery" when it is designed by a Nazi, but innocent and beautiful, with no "evil" overtones at all, when done by others? If we judge Leni Riefenstahl (and her film) in some negative fashion because of this light show, then does that passing of judgement actually not say something more about us than it does about her?

Some Final Thoughts

Leni's hypothetical "propagandistic" intentions with Olympia might well be summarized in this last clip, showing the final sequence from the film. When viewing this clip, take special note of when the flags are shown being lowered — where is the Nazi flag? It can indeed be seen, but we get only the briefest glimpse of it, and the flags of other nations are, in fact, given much more prominence. If Nazi propaganda had been Leni's intention, then there is no question that the Nazi flag in these closing shots — let alone other Nazi imagery and the promotion of other Nazi ideals throughout the film — would have been given more frequency and importance. None of these latter things are depicted in Leni's Olympia, and as we can see even from the few clips presented here on this site (and which can easily be confirmed with a viewing of the entire film), it is actually quite the opposite which is true. Leni Riefenstahl's Olympia is definitively a Multi-National film, where all nations and all races are treated with genuine Equality, and we might emphasize once again that if propagandistic value is to be found in this film at all, it is only Anti-Nazi Propaganda that will actually be discovered. Yes, this was a film which was created within Nazi Germany, about an event which was largely used (independently of Leni's film) for propaganda purposes, but the ultimate result we find here is the personal creation (as clearly seen in the closing copyright card) of a woman who had the strength and courage to advocate beliefs and ideals which flew right in the face of everything the Nazis espoused — and at a time, no less, when doing so could actually have been dangerous to both herself and those people in her life that she loved.

Leni Riefenstahl has been condemned, in part, for her Olympia film, but for this beautiful, truly remarkable creation of hers, she could instead be commended and admired — and why shouldn't she be? From the center of the cyclone, she did what no one else in the entire world would — perhaps even could — do in painting an innocent, honourable, even noble portrait of not just this one German woman's heart, but perhaps ultimately of the German people's heart, beyond the hatred and insanity of the Nazi regime and the obvious mass hysteria and delusion of those times. Leni's Olympia showed that there was an eye to that storm, that beyond — and within — that Blitzkrieg there was peace, justice, truth and, indeed, something truly beautiful. Just as the darkness of the Nazis is a reflection of our collective potential inhumanity as human beings toward one another, within that and beyond that we can also see something that is genuinely overpowering in the totally opposite, positive, filled-with-light way.

When viewing this last, truly definitive clip, strive to view it with objectivity as a work of art created on celluloid — not only as justice to Leni Riefenstahl, but in a larger sense as justice to ourselves. However, in a similar sense, as belated justice to both Leni and to ourselves, when the bells toll in this clip let them also ring as a requiem to the injustice thrust upon Leni Riefenstahl for more than sixty years after this film was made, and for the injustice — and the loss — that we have effectively brought upon ourselves in doing so. Don't just hear the music, too, but feel it, and see the meaning — as surely Leni saw and felt it — that was really meant to be conveyed with that Light.

HELP! Downloading & Playing RealMedia Files

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