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| Genre/Form: | Documentary films Biographical films Nonfiction films Interviews |
|---|---|
| Named Person: | Leni Riefenstahl; Leni Riefenstahl |
| Material Type: | Videorecording |
| Document Type: | Visual material |
| All Authors / Contributors: |
Ray Müller; Leni Riefenstahl; Hans-Jürgen Panitz; Jacques de Clercq; Dimitri de Clercq; Ulrich Bassenge; Kino International Corporation.; Omega Film (Firm); Nomad Films.; Channel Four (Great Britain); Zweites Deutsches Fernsehen.; Image Entertainment (Firm) |
| OCLC Number: | 41464443 |
| Language Note: | English and German soundtracks with English subtitles. |
| Notes: | Some credits from container. Originally produced as a German documentary in 1993. |
| Credits: | Producers: Omega, Hans-Jurgen Panitz; Nomad, Jacques and Dimitri de Clercq; Channel 4, Waldemar Januszczak, Zweites Deutsches Fernsehen, Hans-Peter Kochenrath; editors, Beate KoÌster, Vera Dubsikova; music, Ulrich Bassenge and Wolfgang Neumann. |
| Performer(s): | With: Leni Riefenstahl, Walter Frentz, Horst Kettner, Guzzi Lantschner, Ray Müller, Luis Trenker. |
| Description: | 1 videodisc (188 min.) : sd., col. with b&w sequences ; 4 3/4 in. |
| Details: | DVD (with chapter stops) |
| Contents: | Photographic memories -- Discovering the movies -- 'The Sacred Mountain' (1926) -- 'The Big Leap' (1927) -- 'The While Hell of Pitz Palü' (1929) -- 'The Blue Light' (1932) -- "I hadn't even heard of Hitler" -- 'S.O.S. Iceberg' (1933) -- "What was my responsibility?" -- 'Olympia' (1938) -- 400 km of film -- Kristallnacht -- 'Tiefland' (1954) -- "All our ideals were shattered" -- Nuba -- Fascist aesthetic -- Refuge undersea -- "Being sorry isn't enough." |
| Other Titles: | Macht der Bilder--Leni Riefenstahl |
| Responsibility: | a co-production of Omega Film and Nomad Films, Channel Four, Zweites Deutsches Fernsehen ; writer and director, Ray Müller. |
Abstract:
At the heart of this film is the question of whether Leni Riefenstahl was a Nazi, as her detractors claim, or whether she was the victim of society-- a naive, young woman who made Triumph des Willens on assignment, and simply did a very good job. This film does not judge, and Riefenstahl (a fiesty 90 during production) is genuine in her protest. Or has the passage of 50-plus years simply rewritten history in her mind? Viewers must judge for themselves.
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