Sandra Maischberger meets Leni Riefenstahl.Sandra Maischberger meets Leni Riefenstahl.Sandra Maischberger meets Leni Riefenstahl.
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- ConnectionsFeatures The Blue Light (1932)
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Tactful and tasteful
Speaking as a long-time scholar of Leni Riefenstahl, I must admit, this interview --- was one of the best I have yet to see. Maischberger treats Riefenstahl with the respect she deserves, asking interesting and thought-provoking questions. Despite the many inconsistencies in her stories (she even contradicted herself throughout the interview; lies 'til the end!), Frau Riefenstahl holds her own against the more difficult questions. For example, in response to a question about Riefenstahl's impression of Hitler, she first states that she was part of a large crowd of people who were all captive under his spell. After this, she refers only to this "large group of people", thus removing herself from the picture so as not to self-incriminate. She is crafty!
Art is an expression of the artist. This is especially true in the case of Leni Riefenstahl, as her driving inner force was to create art and capture beauty. Thus, as active viewers we have not only the right, but the responsibility to know certain things about the artist whose work we are viewing.
Leni Riefenstahl was responsible for the greatest propaganda film ever created. It was created for the Nazis, who murdered 11 million people. She answered directly to Adolf Hitler, with whom she was quite close for many years. That relationship, and Riefenstahl's involvement in the successful glorification of both Hitler and the Nazi party, must be questioned. Furthermore, the fact that Riefenstahl has blatantly lied IN THE FACE OF HARD EVIDENCE should lend her to more rigorous questioning.
Maischberger was as successful as she could have been given Riefenstahl's history of violent outbursts in response to things she does not want to discuss. (For instance, her temper-tantrum after Ray Muller, in his film The Wonderful Horrible Life of Leni Riefenstahl, showed her the copies of Joseph Geobbel's private diary entries that directly contradicted what she had just told Muller. I would posit that a rigid, intelligent, high-ranking Nazi officer would not lie in his own diary about the comparatively trivial things Riefenstahl claims are false.)
Art is an expression of the artist. This is especially true in the case of Leni Riefenstahl, as her driving inner force was to create art and capture beauty. Thus, as active viewers we have not only the right, but the responsibility to know certain things about the artist whose work we are viewing.
Leni Riefenstahl was responsible for the greatest propaganda film ever created. It was created for the Nazis, who murdered 11 million people. She answered directly to Adolf Hitler, with whom she was quite close for many years. That relationship, and Riefenstahl's involvement in the successful glorification of both Hitler and the Nazi party, must be questioned. Furthermore, the fact that Riefenstahl has blatantly lied IN THE FACE OF HARD EVIDENCE should lend her to more rigorous questioning.
Maischberger was as successful as she could have been given Riefenstahl's history of violent outbursts in response to things she does not want to discuss. (For instance, her temper-tantrum after Ray Muller, in his film The Wonderful Horrible Life of Leni Riefenstahl, showed her the copies of Joseph Geobbel's private diary entries that directly contradicted what she had just told Muller. I would posit that a rigid, intelligent, high-ranking Nazi officer would not lie in his own diary about the comparatively trivial things Riefenstahl claims are false.)
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- sophiambrandon
- Apr 20, 2014
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