Born in Berlin, Germany, Riefenstahl started her career as a dancer; in a 2002 interview she recalled that dancing was what made her truly happy. After injuring herself she attended a film and became impressed with the possibilities of the medium, and approached a local director, demanding a role in his next film. He consented and Riefenstahl starred in various mountain movies[?], filming outside in the snow in little clothing, climbing craggy mountains barefoot. When presented with the opportunity to direct Blue Light she took it; her main interest was initially in fictional films.
She heard Hitler speak at a rally in 1932 and offered her services as a filmmaker, because she was mesmerized by his powers as a public speaker. In 1933 she directed a short film about a Nazi party meeting. Then Hitler asked her to film the Nazi Party rally in Nuremberg in 1934. Initially she refused, suggesting that Hitler have Walter Ruttmann[?] film it instead. Riefenstahl later consented, and made Triumph of the Will, a documentary film glorifying Hitler and widely regarded as one of the best pieces of propaganda ever produced. She went on to make a film about the German Wehrmacht.
In 1936, Riefenstahl qualified to represent Germany in cross-country skiing in the Olympics but elected to film the event instead. This material became Olympia, a film celebrated for its technical and aesthetic achievements.
After the war, she spent four years in a French detention camp, but in spite of her controversial role in the Third Reich, there was no evidence for crimes committed by her. There were accusations of her using concentration camp inmates on her film sets, but those claims could not be proved in court. In the end, being unable to prove any culpable support of the Nazis, the court called her a "sympathizer". In later interviews, Riefenstahl maintained that she was fascinated by the Nazis but politically naive and ignorant about their atrocities -- a position which many of her opponents dismiss as ridiculous.
Riefenstahl attempted to make other films after the war, but each attempt was met with resistance, protests, and sharp criticisms; and so she has been unable to secure funding for her films. The few films she has made have been short and personally funded. As a result she became a photographer. She became interested in the Nuba[?] tribe in Sudan and published books with photographs of the tribe in 1974 and 1976. She survived a helicopter crash in the Sudan in 2000.
In her late 70s, Riefenstahl lied about her age to get certified for scuba diving, and started a career in underwater photography. As of 2001 Riefenstahl is still in fairly good health and lives at Bavaria's Starnberger See[?]. She plans to release a new film titled Impressions Under Water, a documentary of life in the oceans, on her hundredth birthday, August 22, 2002.
Apart from her controversial role in the Third Reich, Riefenstahl is renowned in film history for developing new aesthetics in her films, especially in relation to nude bodies, and while the propaganda in her films repels many people, their aesthetics are nonetheless outstanding and cited by many other filmmakers.
In October 2002, when Riefenstahl was 100, German authorities decided to drop the case against her for supposedly using concentration camp labor in her film Tiefland. Riefenstahl had long insisted that the gypsies she used for the film survived the war, but a gypsy group claimed that she used them for the film and sent them back when she no longer needed them. German authorities cited Riefenstahl's considerable age as the reason for dropping the case.
as an actress:
as a director:
as a photographer:
See also: Propaganda film