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In Mein Kampf Hitler talks of the success of British propaganda in World War I, believing people's ignorance meant simple repetition and an appeal to feelings over reason would suffice.
Riefenstahl was initially reluctant, not because of any moral qualms, but because she wanted to continue making feature films. 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.
It was considered lost until a copy turned up in the s in the United Kingdom. InRiefenstahl had no wish to repeat the fiasco of Der Sieg des Glaubens and initially recommended fellow director Walter Ruttmann. Ruttmann's film, which would have covered the rise of the Nazi Party from to and been more overtly propagandistic the opening text of Triumph of the Will was hisdid 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[ edit ] The film follows a script similar to Der Sieg des Glaubens, which is evident when one sees both films side by side. 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 ,RM approx. As Susan Sontag observed, "The Rally was planned not only as a spectacular mass meeting, but as a spectacular propaganda film.
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 people, including 10 technical staff, 36 cameramen and assistants operating in 16 teams with 30 camerasnine aerial photographers, 17 newsreel men, 12 newsreel crew, 17 lighting men, two photographers, 26 drivers, 37 security personnel, four labor service workers, and two office assistants.
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 61 hours of film into two hours. With the primary sects being Roman Catholic and Protestantthe 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 is probably not a coincidence that the final parade of the film was held in front of the Nuremberg Frauenkirche.
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In his final speech in the film, Hitler also directly compares the Nazi party to a holy orderand the consecration of new party flags by having Hitler touch them to the "blood banner" has obvious religious overtones. 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. Tomasulo comments, "Hitler is cast as a veritable German Messiah who will save the nation, if only the citizenry will put its destiny in his hands. 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, "Flying in an airplane was a luxury known only to a select few in the s, but Hitler had made himself widely associated with the practice, having been the first politician to campaign via air travel.
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 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. The men there also make a point not to wear their shirts, because their shirts display their rankings and status.
Shirtless they are all equals, unified. When they march, it is in unison and they all carry their weapons identically, one to another. Hitler's message to the workers also includes the notion of unity: The concept of labor will no longer be a dividing one but a uniting one, and no longer will there be anybody in Germany who will regard manual labor any less highly than any other form of labor.
We want to be a united nation, and you, my youth, are to become this nation. In the future, we do not wish to see classes and castes, and you must not allow them to develop among you. One day, we want to see one nation. Germans in peasant farmers' costumes and other traditional clothing greet Hitler in some scenes. The torchlight processions, though now associated by many with the Nazis, would remind the viewer of the medieval Karneval celebration.
The old flag of Imperial Germany is also shown several times flying alongside the Swastika, and there is a ceremony where Hitler pays his respects to soldiers who died in World War I as well as to President Paul von Hindenburgwho had died a month before the convention.
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There is also a scene where the Labor Servicemen individually call out which town or area in Germany they are from, reminding the viewers that the Nazi Party had expanded from its stronghold in Bavaria to become a pan-German movement. The Totenehrung honouring of dead at the Nuremberg Rally. In every speech given and shown in Triumph of the Will, pride is one of the major focuses. Hitler advocates to the people that they should not be satisfied with their current state and they should not be satisfied with the descent from power and greatness Germany has endured since World War I.
The German people should believe in themselves and the movement that is occurring in Germany. Hitler promotes pride in Germany through the unification of it. Unifying Germany would force the elimination of what does not amount to the standards of the Nazi regime. To unify Germany, Hitler believes purification would have to take place. This meant not only eliminating the citizens of Germany who are not of the Aryan racebut the sick, weak, handicapped, or any other citizens deemed unhealthy or impure.
In Triumph of the Will, Hitler preaches to the people that Germany must take a look at itself and seek out that which does not belong: Julius Streicher stresses the importance of purification in his speech, a direct reference to his own virulent anti-semitism. Hitler preaches to the people in his speeches that they should believe in their country and themselves. The German people are better than what they have become because of the impurities in society.
Hitler wants them to believe in him and believe what he wants to do for his people, and what he is doing is for the country's and people's benefit.
Hess says in the last scene of Triumph of the Will, "Heil Hitler, hail victory, hail victory! This verbal sign represents their faith to their leader and his most trusted advisors that they believe in the Nazi cause. In the closing speech of Triumph of the Will, Hitler enters the room from the back, appearing to emerge from the people.
After a one sentence introduction, he tells his faithful Nazis how the German nation has subordinated itself to the Nazi Party because its leaders are mostly of Germans.
He promises that the new state that the Nazis have created will endure for thousands of years. Hitler says that the youth will carry on after the old have weakened. They close with a chant, "Hitler is the Party, Hitler.
His speech brought attention to the rally and created a huge turnout in the following years. He attracted many people in the way that he addressed the issues and his people. He spoke to them as if it were a sermon and engaged the people.
Inover a million Germans participated in the Nuremberg Rally. Within two months the film had earnedReichsmarkand Ufa considered it one of the three most profitable films of that year. Hitler praised the film as being an "incomparable glorification of the power and beauty of our Movement. However, there were few claims that the film would result in a mass influx of " converts " to fascism and the Nazis apparently did not make a serious effort to promote the film outside of Germany.
Film historian Richard Taylor also said that Triumph of the Will was not generally used for propaganda purposes inside the Third Reich. The Independent wrote in British documentarian Paul Rotha called it tedious, while others were repelled by its pro-Nazi sentiments. During World War II, Frank Capra helped to create a direct response, through the film series called Why We Fighta series of newsreels commissioned by the United States government that spliced in footage from Triumph of the Will, but recontextualized it so that it promoted the cause of the Allies instead.
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