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Remembering Leni Riefenstahl:
August 22, 1902–September 8, 2003

754 words leni1_thumb[1]

German translation here

Helene Bertha Amalie “Leni” Riefenstahl was born on this day in Berlin in 1902. She died in Pöcking, Bavaria, on September 8, 2003, just after her 101st birthday. She was a highly accomplished dancer, actress, photographer, and film director. 

Even her most jaundiced critics admit that Leni Riefenstahl is the greatest female filmmaker of all time and/or the greatest documentary filmmaker of all time. But this is faint praise, since both fields are rather small.

In truth, Riefenstahl is one of history’s greatest film directors, period, because of her strong aesthetic sense and countless technical innovations, which account for her immense and enduring influence.

Her status as a director, moreover, rests on a very small body of work: two feature films, Das Blaue Licht (The Blue Light, 1934) and Tiefland (Lowlands, completed 1944, released 1954), and two documentaries: Triumph des Willens (Triumph of the Will, 1934) and Olympia (1938), released in two parts: Fest der Völker (Festival of Nations) and Fest der Schönheit (Festival of Beauty).

In addition, Riefenstahl made three other documentaries. Der Sieg des Glaubens (Victory of Faith, 1933, 64 minutes), was a documentary of the National Socialist German Workers’ Party’s 1933 Nuremberg Rally, which was withdrawn after the 1934 purge of Ernst Röhm, who featured prominently in the movie. The other two documentaries were relatively short: Tag der Freiheit: Unsere Wehrmacht (Day of Freedom: Our Armed Forces, 1935, 28 minutes), and Impressionen unter Wasser (Impressions Under Water, 2002, 45 minutes). These documentaries, however, have been seldom seen and have had little influence on Riefestahl’s reputation.

The fact that Riefenstahl’s stature as a filmmaker rests on only four films was not due to lack of effort on her part. After the Second World War, Riefenstahl tried repeatedly to launch new film projects, all of which came to naught, for one reason or another. But there is no question that an artist of Leni Riefenstahl’s talent would have made dozens of films in the 58 years she lived after World War II, if she had not been Adolf Hitler’s favorite director and if the Western movie business and media in general had not been dominated by Jews. The throttling of a talent this great is one of the aesthetic crimes of the 20th century.

It is a reminder that Jewish cultural hegemony is maintained not merely by promoting decadent artists, regardless of their talent, but by suppressing healthy ones, regardless of their talent. It is also a reminder that all other values of the Left-wing coalition — feminism, gay rights, environmentalism, etc. — are always subordinated when they conflict with the overriding Jewish agenda of degrading and destroying the white race, especially those connected in any way with its most self-conscious and militant defenders so far.

If you wish to begin exploring the life and work of Leni Riefenstahl, I recommend that you start with her own works:

Riefenstahl also acts in the following classic films directed by Arnold Fanck:

Do not miss Derek Hawthorne’s extensive analyses of each film, linked below.

Riefenstahl also appears extensively in Ray Müller’s 1994 documentary The Wonderful, Horrible Life of Leni Riefenstahl. The director includes candid footage, shot when Riefenstahl did not think she was being filmed. His intention was to make her look bad, but in truth she comes off as 100 times the director Müller is. It is required watching, despite the inevitable axe-grinding.

I also recommend the following articles on this website:

Finally, I wish to recommend several books on Riefenstahl:



  1. Justin Huber
    Posted August 22, 2014 at 2:40 pm | Permalink

    This is a nice write up Greg. Hopefully, you don’t find this offensive, but I feel that some of your best writing is when you call out the Jews and their quest to destroy us. Can the left wing ever cut ties with the Jews I wonder. The left seems to have more balls when it comes to criticizing Israel and all the Jewish hypocrisy it entails. More importantly, can they abandon egalitarianism and pacifism?

    • Greg Johnson
      Posted August 22, 2014 at 3:47 pm | Permalink

      Thanks Justin. I appreciate it.

      One of my projects is to break the Left away from Jews and egalitarianism.

      • me
        Posted August 22, 2014 at 8:56 pm | Permalink

        This project is is form of an article (or series of articles) or a book? In any case, please hurry up with this project, as the left badly needs to hear our message.

  2. Tim
    Posted August 22, 2014 at 10:43 pm | Permalink

    That picture of her is beautiful.

  3. Walter
    Posted August 23, 2014 at 2:34 pm | Permalink

    I think of Leni Riefenstahl often; she is one of the all-time greats of art. By Schopenhauer’s accounting of greatness or importance (in the Aphorisms),s he took the data available to all and gave them a new, insightful interpretation. She took the images everyone saw and arranged them in such a way as to extract an essence to make the world’s imagery full, a captivating and desirable spectacle, if one looks at it in a certain way.
    I wrote on the last occasion of her birthday, when there was a reminder of Leni Rifenstahl at Counter Currents, that the picture of her which I keep in my was only noticed by a Jewess who burst out: “You keep her picture!”
    Jews do know of her greatness and feel that she might be a threat to their worldview, non-Jews have hardly heard of her, and often hold the stereotyped negative opinion as injected into the population by Leni Riefenstahl’s calumners.
    It is well to know that she was one of us.

  4. Petronius
    Posted August 25, 2014 at 6:37 pm | Permalink

    For some reason, the equally notorious Veit Harlan who directed “Jud Süss” and “Kolberg” was unlike Leni able to continue his work on a regular basis all through the 1950s. His work can be considered far more “evil”, as Riefenstahl never made an antisemitic or war-supporting film. Harlan’s films of his postwar period are pretty weak, with one or two exceptions – “Hanna Amon”, a delicious over-the-top-melodrama with dark undertones, and “Anders als du und ich/Das dritte Geschlecht”, a sort of “Reefer Madness” style, campy anti-gay film (though Harlan claimed only the cuts by the studio made it that way… it still is full of unintentional hilariousness). So I guess Leni got the ban, because she was far more talented than Harlan was. It’s always the talented ones who serve as scapegoats, not the untalented ones…

    It is a real pity she wasn’t able to shoot her dream project “Penthesilea” based on Kleist…

    Posted August 31, 2014 at 7:11 pm | Permalink

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