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Leni Riefenstahl: A Life

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The infamous filmmaker of the Third Reich, Leni Riefenstahl, continues to fascinate even after her death at age 101 in 2003, as this biography by German film historian Jürgen Trimborn is one of two coming out this spring documenting her controversial life and career. Trimborn has the advantage of having conducted several interviews with Riefenstahl over the latter part of her career and consequently provides an intriguing perspective on a woman who was preoccupied with sustaining her image as a purely artistic and objective observer of the world around her, including Hitler's encroaching regime. Trimborn dismantles many of her the myths that Riefenstahl took pains to develop over her lifetime, most surprisingly how she allegedly pursued Hitler aggressively after meeting him in May 1932.

A supreme opportunist, Riefenstahl carved her role as the Third Reich's propagandist with the specific intent of encouraging the unabated spread of Fascism to bolster her career. Her legendary vitality was clear from the outset, beginning as an interpretive dancer and then an actress in a series of mountaineering films popular in the Weimar at the time. She turned her attentions behind the camera, which culminated into her two masterful documentaries - `"Triumph of the Will" about the 1934 Nuremberg rallies and "Olympia" about the 1936 Berlin Olympics. While the ethical nature of Riefenstahl's participation in the Nazi cause does not diminish her great talent, Trimborn conversely shows the reverse to be true as well, as he concludes without hesitation what a world-class liar she was.

Her latent anti-Semitism and awareness of the ongoing genocide are well documented here as an intrinsic part of her self-delusion regarding the atrocities committed for the sake of maintaining Aryan supremacy. After Germany's defeat in WWII, the author effectively shows a woman with a heightened need for self-exoneration, filing over fifty lawsuits to clear her name of any wrongdoing. There is no doubt that Riefenstahl was had a survival instinct as she reinvented herself later as a nature photographer studying the Nuba tribes in Sudan in the 1970's and at age 100, publishing a photo book of undersea life made possible by her adept scuba diving skills. Although he can write a bit more clinically than his dimensional subject warrants, Trimborn provides an illuminating portrait of a vastly prodigious creator whose dedication to her own legacy blinded her to the human toll over which she had indirect accountability.

This is the first book I've read about the notorious director, but I will need to read another one to truly get a full sense of her life and work. This author seems to assume that we have already read a fuller account of her life and instead spends the bulk of his pages refuting her own statements about herself, mostly from what seems to have been the blanket of lies and evasions that her published memoirs were. Despite a chapter list that implies chronological order, he often jumps back and forth a bit confusingly. He does very little fruitful discussion of her work, and if I hadn't already seen Triumph of the Will and some of Olympiad, I would have no sense of why these films remain important and controversial works. I wasn't looking for a book whose primary goal was either to damn her or rehabilitate her, though of course with a subject as controversial as Riefenstahl any author will eventually have a point of view on her. But to get to that point, the book should present a clear view of her life, career, and works, and though Trimborn's book does have its interesting sections, it's not a satisfying biography for readers who don't already know quite a bit about her.

The title suggests this is about the life of Leni Riefenstahl, but in the greater part of the text, Trimborn describes her relationship with Hitler and Reich and her subsequent denials.

He shows how her protestations that she was innocent because she was an apolitical artist cannot stand up to the eye witness accounts, official testimony, and photographic records that link her to Hitler's inner circles. Whether or not she was a mistress of Hitler, Trimborn clearly documents her close association with him. She obviously had high up patronage to receive seemingly unlimited production funds and the life and death power over others.

In her abusive patriarchic family, Leni is given no support for the talent she undoubtedly has. She desperately strives for approval from a frightfully violent father. Her unhappy romantic life can be predicted as can her search for a strong male figure. Her beauty, exposure as an actress and a chance "fan" letter give her access to Hitler at the time she is beginning to make her own films. From her family background she is psychologically programmed to overcome and achieve and Hitler sees that she can deliver what he needs.

Germany's defeat creates for Leni one of the sharpest career drops ever, after which she managed a second career that spanned over 50 years. It was not as glamorous and well funded as her first career and the honors she received were always tainted by protest.

How do we assess achievement in the dubious art of propaganda? Is the artist responsible for evil that the creation may inspire? Can artists be absolved for denying belief in, commitment to, or lack of understanding of the content they create? Should those who have had limited access to success (i.e. women, minorities) be given greater laditude in assessing their path to success?

This book has plenty of food for thought.

I'm in complete agreement with reviewer M. Richie on this one. Trimborn's book is well-researched and his conclusions are supported but this is not the place for the novice to start. The writer appears to assume the reader already knows Riefenstahl's basic life story, her claims and the allegations against her. He sets about addressing the claims and allegations one at a time, consequently this biography is not in chronological order. If, like me, you know only the bare bones of Riefenstahl's story, this can get confusing. It doesn't lend itself to narrative drive, either.

If I'd read another biography of Riefenstahl first, I'd probably find this book a good next step but as a first step it left alot of gaps. Still, Trimborn demolishes Riefenstahl's claims that she was "apolitical" and provides details about the making of her landmark films. This is a worthy addition to the field, just not a place to start.

The author has made a credible job of getting to the real history about who Leni Riefenstahl really was as an artist and a person, rather than the idealistic view that Leni Riefenstahl herself tried to sell to the general public after WWII. The book describes both the good side of Leni Riefenstahl as an exceptional and inventive artist, but also her ugly side in how she sacrificed other people and probably her own conscience in order to reach the top.

I agree with the assessment by M. Ritchie, but would add that this is very hackneyed prose, which I must assume comes from either a bad translation from original German or a non-English speaker lacking a full grasp of the language. Stiff.

I'm fascinated with the artist & person of Leni Riefenstahl and feel that this work may be the most balanced account of her life available in print. Trimborn's top-notch research and constant juxtaposition of her intertwined personal and professional lives makes for not only compelling reading but an insightful look into the "wonderful, horrible life" of this famous figure.

While it is certainly true that Riefenstahl's longevity transformed her from a figure of controvery to a "cultural monument," the author doesn't allow that fact to let her off the hook. He acknowledges her charm as fairly as he does her complicity, which may leave readers with more questions than answers.

There is no doubt that Leni Riefenstahl was a talented enigma and dynamic personality and Trimborn examines all those facets throughout her past & present infamy.

My only regret is that the book ended abruptly and it would have been interesting to learn more of her final days and subsequent business legacy with Leni Riefenstahl Productions. The notes and Bibliography are excellently compiled.

I have seen her movies and read a lot about Leni Riefenstahl. This is the first book that cuts through her lies, half-truths, and evasions that were seemingly always a part of her life. Finally the truth is told in a fair, balanced way. Great detail. A very good book.

Amazon should be congratulated for having these books. With the rise of Anti Semitism, its important to be able to argue with historical facts and data.

congratulations amazon

Also as a fan of classical photography, this book contains some wonderful photo's and help with Techniques.