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Editorial Reviews
From Publishers Weekly
Filmmaker Riefenstahl's autobiography details her relationships with Nazi officials and international celebrities as well as her postwar life and travels.
Copyright 1995 Reed Business Information, Inc.
From Library Journal
The subtitle of this book could appropriately have been "An Apologia." According to Riefenstahl, she is an apolitical, passive person who was pushed into her career as a German film actress and filmmaker of such Nazi-era classics as Triumph of the Will and Olympia. Whatever the truth, she did have a remarkable career then and subsequently achieved new fame as a talented photographer. Unfortunately, she writes in a monotonous, unemotional style that dilutes the most prominent times of her life, even her relationship with Hitler. This, coupled with the dubious reliability of her recollections, make the memoir a disappointment. Such works as David Hinton's The Films of Leni Riefenstahl (Scarecrow, 1992), Renata Berg-Pan's Leni Riefenstahl (Twayne, 1980), and Glenn Infield's Leni Riefenstahl: The Fallen Film Goddess ( LJ 10/15/76) will have to suffice until a definitive biography is written.
- Roy Liebman, California State Univ. Lib., Los Angeles
Copyright 1993 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
Filmmaker Riefenstahl's autobiography details her relationships with Nazi officials and international celebrities as well as her postwar life and travels.
Copyright 1995 Reed Business Information, Inc.
From Library Journal
The subtitle of this book could appropriately have been "An Apologia." According to Riefenstahl, she is an apolitical, passive person who was pushed into her career as a German film actress and filmmaker of such Nazi-era classics as Triumph of the Will and Olympia. Whatever the truth, she did have a remarkable career then and subsequently achieved new fame as a talented photographer. Unfortunately, she writes in a monotonous, unemotional style that dilutes the most prominent times of her life, even her relationship with Hitler. This, coupled with the dubious reliability of her recollections, make the memoir a disappointment. Such works as David Hinton's The Films of Leni Riefenstahl (Scarecrow, 1992), Renata Berg-Pan's Leni Riefenstahl (Twayne, 1980), and Glenn Infield's Leni Riefenstahl: The Fallen Film Goddess ( LJ 10/15/76) will have to suffice until a definitive biography is written.
- Roy Liebman, California State Univ. Lib., Los Angeles
Copyright 1993 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
Product Details
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