Triumph of the Will - Wikipedia. Triumph of the Will (German: Triumph des Willens) is a 1. German propaganda film directed, produced, edited, and co- written by Leni Riefenstahl. It chronicles the 1. Nazi Party Congress in Nuremberg, which was attended by more than 7. Nazi supporters. Hitler commissioned the film and served as an unofficial executive producer; his name appears in the opening titles.
Le Triomphe de la Volont. 9:40 Triumph des Willens (1935). LE TRIOMPHE DE LA VOLONT. Le triomphe de la volont. Search for 'Triumph of the Will' on Amazon.com. Title: Triumph of the Will (1935) 7.5 /10. Want to share IMDb's rating on your own site?
The film's overriding theme is the return of Germany as a great power, with Hitler as the leader who will bring glory to the nation. Because the film was made after the 1.
Synopsis de Le Triomphe de la volont Triumph Des Willens - Triomphe de la Volont. Triomphe de la Volonte\Riefenstahl - 1935.
Night of the Long Knives (on 3. June) many prominent Sturmabteilung (SA) members are absent.
Riefenstahl's techniques. Riefenstahl helped to stage the scenes, directing and rehearsing some of them at least fifty times. Riefenstahl won several awards, not only in Germany but also in the United States, France, Sweden and other countries. The film was popular in the Third Reich, and has continued to influence films, documentaries and commercials to this day. This can be viewed at the Internet Archive.
The direction and sequencing of images is almost the same as that Riefenstahl used in Triumph of the Will a year later. Frank Capra's seven- film series Why We Fight is said to have been directly inspired by, and the United States' response to, Triumph of the Will. It consists of the following text, shown sequentially, against a grey background: Am 5. The cruciform shadow of Hitler's plane is visible as it passes over the tiny figures marching below, accompanied by an orchestral arrangement of the Horst- Wessel- Lied. Upon arriving at the Nuremberg airport, Hitler and other Nazi leaders emerge from his plane to thunderous applause and a cheering crowd. He is then driven into Nuremberg, through equally enthusiastic people, to his hotel where a night rally is later held. Day 2: The second day begins with images of Nuremberg at dawn, accompanied by an extract from the Act III Prelude (Wach Auf!) of Richard Wagner's Die Meistersinger von N.
Following this is a montage of the attendees preparing for the opening of the Reich Party Congress, and footage of the top Nazi officials arriving at the Luitpold Arena. The film then cuts to the opening ceremony, where Rudolf Hess announces the start of the Congress. The camera then introduces much of the Nazi hierarchy and covers their opening speeches, including Joseph Goebbels, Alfred Rosenberg, Hans Frank, Fritz Todt, Robert Ley and Julius Streicher. Then the film cuts to an outdoor rally for the Reichsarbeitsdienst (Labor Service), which is primarily a series of quasi- military drills by men carrying spades. This is also where Hitler gives his first speech on the merits of the Labour Service and praising them for their work in rebuilding Germany. The day then ends with a torchlight SA parade in which Viktor Lutze speaks to the crowds.
Day 3: The third day starts with a Hitler Youth rally on the parade ground. Again the camera covers the Nazi dignitaries arriving and the introduction of Hitler by Baldur von Schirach. Hitler then addresses the Youth, describing in militaristic terms how they must harden themselves and prepare for sacrifice. Everyone present, including General Werner von Blomberg, then assemble for a military pass and review, featuring Wehrmacht cavalry and various armored vehicles. That night Hitler delivers another speech to low- ranking party officials by torchlight, commemorating the first year since the Nazis took power and declaring that the party and state are one entity. Day 4: The fourth day is the climax of the film, where the most memorable of the imagery is presented. Hitler, flanked by Heinrich Himmler and Viktor Lutze, walks through a long wide expanse with over 1.
Le tournage a lieu entre le 10 et le 16 septembre 1935 Film Le Triomphe de la volont. Le cadrage de la foule. Regarder Le Triomphe de la volont.
SA and SS troops standing at attention, to lay a wreath at a First World War memorial. Hitler then reviews the parading SA and SS men, following which Hitler and Lutze deliver a speech where they discuss the Night of the Long Knives purge of the SA several months prior.
Lutze reaffirms the SA's loyalty to the regime, and Hitler absolves the SA of any crimes committed by Ernst R. New party flags are consecrated by letting them touch the Blutfahne (the same cloth flag said to have been carried by the fallen Nazis during the Beer Hall Putsch) and, following a final parade in front of the Nuremberg Frauenkirche, Hitler delivers his closing speech.
In it he reaffirms the primacy of the Nazi Party in Germany, declaring, . Only the best National Socialists are party comrades! The entire crowd sings the Horst- Wessel- Lied as the camera focuses on the giant Swastika banner, which fades into a line of silhouetted men in Nazi party uniforms, marching in formation as the lyrics . My first reaction was to say that I did not know anything about the way such a thing worked or the organisation of the Party, so that I would obviously photograph all the wrong things and please nobody - even supposing that I could make a documentary, which I had never yet done. Hitler said that this was exactly why he wanted me to do it: because anyone who knew all about the relative importance of the various people and groups and so on might make a film that would be pedantically accurate, but this was not what he wanted.
He wanted a film showing the Congress through a non- expert eye, selecting just what was most artistically satisfying - in terms of spectacle, I suppose you might say. He wanted a film which would move, appeal to, impress an audience which was not necessarily interested in politics. Around the same time she first heard Hitler speak at a Nazi rally and, by her own admission, was impressed.
She later began a correspondence with him that would last for years. Hitler, by turn, was equally impressed with Das blaue Licht, and in 1. Nazis' annual Nuremberg Rally. The Nazis had only recently taken power amid a period of political instability (Hitler was the fourth Chancellor of Germany in less than a year) and were considered an unknown quantity by many Germans, to say nothing of the world.
In Mein Kampf. However the film had numerous technical problems, including a lack of preparation (Riefenstahl reported having just a few days) and Hitler's apparent unease at being filmed. To make matters worse, Riefenstahl had to deal with infighting by party officials, in particular Joseph Goebbels who tried to have the film released by the Propaganda Ministry. Though Der Sieg des Glaubens apparently did well at the box office, it later became a serious embarrassment to the Nazis after SA Leader Ernst R. Ruttmann's film, which would have covered the rise of the Nazi Party from 1.
Triumph of the Will was his), did not appeal to Hitler. He again asked Riefenstahl, who finally relented (there is still debate over how willing she was) after Hitler guaranteed his personal support and promised to keep other Nazi organizations, specifically the Propaganda Ministry, from meddling with her film.
Production. For example, the city of Nuremberg scenes - even to the shot of a cat included in the city driving sequence in both films. Furthermore, Herbert Windt reused much of his musical score for that film in Triumph des Willens, which he also scored. Riefenstahl shot Triumph of the Will on a budget of roughly 2. RM (approx. As Susan Sontag observed, . Pits were dug in front of the speakers' platform so Riefenstahl could get the camera angles she wanted, and tracks were laid so that her cameramen could get traveling shots of the crowd. When rough cuts weren't up to par, major party leaders and high- ranking public officials reenacted their speeches in a studio for her.
Her crew consisted of 1. Many of her cameramen also dressed in SA uniforms so they could blend into the crowds. Riefenstahl had the difficult task of condensing an estimated 6.
The primary religion in Germany before the Second World War was Christianity. With the primary sects being Roman Catholic and Protestant, the Christian views in this movie are clearly meant to allow the movie to better connect with the intended audience.
Religion is a major theme in Triumph of the Will. The film opens with Hitler descending god- like out of the skies past twin cathedral spires. It contains many scenes of church bells ringing, and individuals in a state of near- religious fervor, as well as a prominent shot of Reich Protestant Bishop Ludwig M. It is probably not a coincidence that the final parade of the film was held in front of the Nuremberg Frauenkirche. In his final speech in the film, Hitler also directly compares the Nazi party to a holy order, and the consecration of new party flags by having Hitler touch them to the . Hitler himself is portrayed in a messianic manner, from the opening where he descends from the clouds in a plane, to his drive through Nuremberg where even a cat stops what it is doing to watch him, to the many scenes where the camera films from below and looks up at him: Hitler, standing on his podium, will issue a command to hundreds of thousands of followers. The audience happily complies in unison.
Though the Labor Service men carried spades, they handled them as if they were rifles. The Eagles and Swastikas could be seen as a reference to the Roman Legions of antiquity. The large mass of well- drilled party members could be seen in a more ominous light, as a warning to dissidents thinking of challenging the regime. Hitler's arrival in an airplane should also be viewed in this context. According to Kenneth Poferl, . Victory reinforced this image and defined him as the top man in the movement, by showing him as the only one to arrive in a plane and receive an individual welcome from the crowd. Hitler's speech to the SA also contained an implied threat: if he could have R.
If a country isn't unified in saying the enemy is bad, the audience starts to have doubts. Unity is seen throughout this film, even in the camps where soldiers live. The camp outside of Nuremberg is very uniform and clean; the tents are aligned in perfect rows, each one the same as the next.