Triumph of Tragedy and Victory of Faith
Documentary films are objective renderings of reality, yet they are invariably shaped by a specific viewpoint. This phenomenon is clearly illustrated in Leni Riefenstahl’s 1934 film, Triumph of the Will. Chronicling the 1934 session of the Nazi Party Congress, Triumph of the Will is historically viewed as propaganda favoring Hitler’s reign. This perspective caused the film to be banned for over three decades. Upon closer inspection, however, we must ask ourselves if Riefenstahl’s film is faithful to historical fact? Is the film truly Nazi propaganda or is it a propaganda film given life by a non-Nazi female filmmaker? There is a thin line separating the underlying objective. Clearly, the primary issue of representation in this documentary is its design as a propaganda tract absent any objectivity on behalf of the filmmaker.
Despite its purpose and design as propaganda, Riefenstahl’s considerable talents are often underestimated due her close personal association with Hitler and Nazi Germany. Nevertheless, Triumph of the Will displays a variety of powerful cinematic techniques of persuasion, ones that were adopted afterward by politicians, advertisers, journalists, and others interested in influencing human behavior. Though Triumph of the Will is the recording of an event, biased in favor of Nazi beliefs and ideals, it is also a superb film with a voice relying on mise-en-scene, editing, and music to create a hypnotic and visually rich emotional experience.
The film commences with Hitler’s arrival by plane in Nuremberg. Parallels can be made between Hitler’s arrival through the skies and the descent of God, coming to meet his people. This is reinforced by endless views of clouds that fill the screen. The plane’s shadow moves relentlessly over the sunlit streets of Nuremberg. Shots of the townspeople in the streets, showed an awed crowd looking expectantly toward...