Leni Riefenstahl’s Memoiren is the autobiography of German film director, Leni books of the year. Editions of the book also appear as The Sieve of Time: The Memoirs of Leni Riefenstahl (UK) and Leni Riefenstahl: A Memoir (US). A Memoir has ratings and 35 reviews. Jessica said: I have defeated you Leni Riefenstahl. A part of me believes this woman is a liar and a sociopath. Filmmaker for Adolf Hitler and top film executive for the Third Reich, Riefenstahl ( b. ) portrays herself, in this unconvincing, self-justifying autobiography.

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Leni Riefenstahl: A Memoir – Leni Riefenstahl – Google Books

InLeni Riefenstahl’s memoir was about to be published by Doubleday when the book’s editor and its translator received threatening phone calls and the project was dropped. Now, four years later, St.

Martin’s Press is bringing out the book under the same editor. No translator is credited on the title page. It is evident that Leni Riefenstahl, who was in her mids when she wrote the memoir and is now 91, remains a highly charged subject more than half a century after she made “The Triumph of the Will” and “Olympia.

After the war, cinematic entrees were closed to Riefenstahl. She never made another film. Her insistence through the decades that she directed the documentaries solely as works of art, that the thought of propaganda never crossed her mind, has had the ring of a bald-faced lie. Germany’s defeat and revolution in are experienced by the young Leni “in a cloud of unknowing.


Riefenstahl makes much of the political naivete of the artist preoccupied with her work, but what emerges inadvertently from the book is an even stronger case for the incognizance she claims: She has a kind of driving mindlessness, which makes it feasible that in her worship of power, and of the mystical and sublime, she filmed “The Triumph of the Will” in all the grand subjectivity of her passions.

I would venture to guess that she belonged to the tradition of Teutonic romanticism, which dovetailed very smoothly into the blazoned Wagnerian scenario of the Nazis.

Like too many others during the first flush of the National Socialist regime, she saw its iniquities–when indeed she took notice of anything–as kinks that would straighten out with time; meanwhile her aesthetic sensibilities marched enthusiastically in step with the regime’s need to be seen as something of transcendent beauty.

Nor does she deny that Hitler’s personality dazzled her. It is all dazzle and limelight. Regarding the brilliant Berlin festivities surrounding the Olympics, she writes, “I had no inkling of the human tragedies taking place behind all that gaiety.

The memoir is a chronicle of self-worship and self-pity. It is also lni interesting book, in that hers has been a life marked by the most drastic high and low points and by an inexpungable stamina.

Her promising career as a creative dancer having been ended by a badly damaged knee, she became the leading actress in Arnold Fanck’s mystical, man-pitted-against-nature mountain films.


These productions involved physical rigors amounting to torture, and Riefenstahl showed a fortitude that matched the intensity of her artistic drive, which in turned to directing. Her first picture, riefensthal enormously successful mountain epic, called her to Hitler’s attention.

A Memoir: A Memoir

Although she w that Hitler had to argue her into making a documentary and that she agreed to do so against her will, feeling that the genre was alien to her, she directed four official Nazi documentaries between and Later, on her own, she directed a second mountain film, which was uncompleted at the war’s end.

After the war, Riefenstahl entered a long period of poverty and hardship littered with unsuccessful attempts to get various film projects going. In the s she re-established herself as an artist with her photographs of the Sudanese Nubans, a tribe of physically superb warriors untainted by modern civilization. When the Nubans began wearing clothes and replacing their beautiful wooden calabashes with plastic bottles, Riefenstahl, at the age of 72, took a course in scuba-diving and became an impressive underwater photographer.

The Life But Not the Times: Seizure Led to FloJo’s Death. riefenstanl

His scores make his case. Copyright Los Angeles Times.