Waste of time

Pretty Good

Most undeservingly overhyped movie of all time??

Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

The Wonderful Horrible World Of Leni Riefenstahl (1993) documentary was filmed with actress, dancer, movie director, photographer Leni Riefenstahl's permission, participation, and help (she supplied many examples of her movies, still photos, and other important memorabilia to the producer of the movie, Ron Muller).She was 90 years old when the movie was made in 1993, and was then in amazingly good health both physically and mentally. She dressed herself in attractive, stylish clothes and had attractively colored (ash blonde) and styled hair at a level of handsomeness never seen on most 90 year old persons of either gender. In her youth (the 1920's) she was a stage and movie actress and dancer famous for her attractive, shapely, sensuous legs.We see those same legs displayed bare, still shapely and attractive, in a scene toward the end of this documentary where she sits on a bed with her boyfriend "Horst" (40 years younger than she, and by then her "companion" and protégé of 18 years at least), watching beautiful underwater video camera-work they both did...a scene where Leni actually caresses the huge back of an unresisting Giant Manta Sting Ray with a body at least four feet in diameter, and a deadly "sting" tail which could easily kill any diver or other person unlucky enough to touch the tail.Leni Riefenstahl (1903 - 2004) died at age 101 following an incredible life as a performing and photographic artist which continued literally until the year she died. She never "retired," quit, or ceased her artistic activity or the promotion and publicity of that activity.The Wonderful Horrible World Of Leni Riefenstahl (1993) documentary by Ron Muller was made with Leni's full cooperation and participation (and possibly co-ownership) and made intentionally dramatic and riveting because Riefenstahl knew the importance of publicity and keeping her name in the public eye, and examples of her work provided for mass public attention.Much of what she did over her life was done with her own money and resources. She was an owner as well as a hired artist, and a very prosperous person thanks to her business acumen and abilities.She owned both the famous Trimph Of The Will (1934) documentary depiction of the 1934 Nuremburg Germany Nazi Party three day outdoor rally and gathering, and also owned the Olympia (1936) documentary about the World Olympic Games For 1936 held that year in Munich, Germany.After World War II and the defeat of Germany, she moved to insist on legal and financial control of both those important (landmark) documentary movies, and money she obtained due to her control of the two famous documentaries (and also of feature movies she acted and danced in done before 1934, both sound and silent movies of fame and great art and skill) was used to fund further artistic, photographic and underwater video projects she continued to work on through her ninth decade.Leni Riefenstahl (1903-2004) was a remarkable woman, and this documentary portrait of her is worth screening over and over again.She is a role model for all women, and all preforming and photographic/ cinematic artists of all ages, and in all countries.------------ Written by Tex Allen, SAG Actor. Visit WWW.IMDb.Com and choose "Tex Allen" "resume" for contact information, movie credits, and biographical information about Tex Allen. He has reviewed more than 42 movies posted on WWW.IMDb.Com (the world's largest movie information database, owned by Amazon.Com) as of January 2011. These include: 1. Alfie (1966) 29 July 2009 2. Alien (1979) 24 July 2009 3. All the Loving Couples (1969) 17 January 2011 4. All the President's Men (1976) 16 November 2010 5. American Graffiti (1973) 22 November 2010 6. Animal House (1978) 16 August 2009 7. Bullitt (1968) 23 July 2009 8. Captain Kidd (1945) 28 July 2009 9. Child Bride (1938) 24 September 2009 10. Creature from the Black Lagoon (1954) 22 September 2010 11. Destination Moon (1950) 17 January 2011 12. Detour (1945) 19 November 2010 13. Die Hard 2 (1990) 23 December 2010 14. The Wonderful, Horrible Life of Leni Riefenstahl (1993) 19 November 2010 15. Jack and the Beanstalk (1952) 26 July 2009 16. King Solomon's Mines (1950) 1 December 2010 17. Knute Rockne All American (1940) 2 November 2010 18. Claire's Knee (1970) 15 August 2009 19. Melody Ranch (1940) 10 November 2010 20. Morning Glory (1933) 19 November 2010 21. Mush and Milk (1933) 17 January 2011 22. New Moon (1940) 3 November 2010 23. Pinocchio (1940) 6 November 2010 24. R2PC: Road to Park City (2000) 19 November 2010 25. Salt (2010) 24 August 2010 26. Saturday Night and Sunday Morning (1960) 21 January 2011 27. Sunset Blvd. (1950) 1 December 2010 28. The Forgotten Village (1941) 21 January 2011 29. The Great Dictator (1940) 1 November 2010 30. The King's Speech (2010) 19 January 2011 31. The Last Emperor (1987) 20 January 2011 32. The Loneliness of the Long Distance Runner (1962) 9 January 2011 33. The Man in the White Suit (1951) 5 August 2009 34. The Philadelphia Story (1940) 5 November 2010 35. The Social Network (2010) 19 January 2011 36. The Taking of Pelham One Two Three (1974) 1 August 2009 37. The Thomas Crown Affair (1999) 14 August 2009 38. The Witchmaker (1969) 21 July 2009 39. Thousands Cheer (1943) 3 December 2010 40. Till the Clouds Roll By (1946) 24 November 2010 41. Wake Up and Live (1937) 27 July 2009 42. Witness for the Prosecution (1957) 1 August 2009 ....Tex Allen's email address is TexAllen@Rocketmail.Com.See Tes Allen Movie Credits, Biography, and 2012 photos at WWW.IMDb.Me/TexAllen. See other Tex Allen written movie reviews....almost 100 titles.... at: "http://imdb.com/user/ur15279309/comments" .

Interesting. This is a good documentary about a great documentarian.I guess the normal form for commenting on this is to take a side on the art/politics controversy. Or perhaps to note film as propaganda tool today. I think I would rather simply remark that you just cannot watch movies as a lucid viewer without understanding something about who you are in the things. And that means wondering about who the filmmaker thinks you are. And that in turn means considering what it means when a camera is placed or moves in a certain way. If you do, you will find yourself wondering about the camera of Hitchcock and Welles. Surely that is at least as fundamental as you need to go. But you can go a half step further back and you will find yourself here, with this woman and her dancing eye.Yes, her personality at 90 is still German, which means she is a romantic idealist and an apologist for her generation. Annoying, but typical. And does it matter? Does it matter if, say, van Gogh was an anti-Semite? You decide. For me, I assume the artist is often the dumbest person involved in the process and the last person to ask. So the art is the thing.There are three great things she did, and these are apart from the idealization of the body, a constant theme. She advanced the art of filters to create abstract frames. In this, she was merely one in a line of talents. She was an innovator in creating a new philosophy of the camera. In this, she was a genius. But that wouldn't have mattered if she wasn't also a genius innovator in the art of editing.She understood that in addition to the story, the images themselves have a rhythm and song apart from the thing depicted. I think she really means it when she says her great propaganda film could have been of any choreographed event. She was a master of exploiting the movement of the eye as well as the movement of the subject, even the rhythm of the greyscales and depths. You need to watch "Triumph" and "Olympia" ignoring the subject, perhaps upside down as I did to see the music.Having said that, the effect of these two films undeniably altered life. The Nazi film was the single greatest influence in convincing the rural German public to support Hitler. That's huge. But perhaps a larger impact was on sports. Until that point, sports were something you did or read about. You might go to a contest purely for the association of the thing.What her art did, incidentally, was she made sports cinematic. And we may all be the worse for it.Ted's Evaluation -- 3 of 3: Worth watching.

****CONTAINS SPOILERS****Finally somebody has ventured out to examine Leni Riefenstahl'scareer, films, life and images without pointing a finger at her andcalling her a facist or a Nazi. I'd read about Riefenstahl before andknew her work but never once did I realize the scope of her work,the odds she has faced. Never did I really understand her, or atleast feel like I did. I certainly feel that I understand her more now. At age 90 (or so), we follow Leni, still a charismatic and vivaciouswoman, to the barren, snow-covered mountains she climbed inthose lyrical Bergfilms that she began her film career with. It'sincredible to see her walk though the very same UFA sound stagewhere she first met von Sternberg and Marlene Dietrich, or towatch her as she stands on the exact spot in a subway where shesaw an advertisement that changed the course of her life. It's alsoamazing to see the footage that was shot for the documentary ofthe Nuba tribespeople, footage that was never made into a movie. And where did they find all that behind-the-scenes footage fromThe White Hell of Pitz-Palu and Olympia?!? Just seeing that isworth viewing this movie.Throughout the documentary, Riefenstahl keeps telling us thatTriumph of the Will was just a job, and from what she says, Ibelieve her. I'm sorry, but I just do. There's no question she madeprobably the best propaganda film ever (Bowling for Columbinenot with standing; of course they're two VERY differant movies). It'sjust that she wanted to do do something new on film, somethingthat had never been done before. I'm not trying to justify anythingthe Nazis did. That's just the way I see it.My favorite scenes in this movie are the ones in which Riefenstahlis caught behind the scenes, arguing with her long-sufferingdirector, proving that she's still very much an individual, still verymuch a director herself. When she says something to the effect of"The camera must always be on me!" you can tell that beingrecognized as an artist and an important person is clearly gettingto her head. Frankly, I don't blame her. If I'd done as much as shehad to push the bounderies of cinema and then be scornedbecause of one film, I'd want all the sudden attention I could get.

This is an excellent biography of one of the most influential filmmakers in history. It not only gives a comprehensive overview of her body of work but reveals many of innovative techniques she pioneered. Her accomplishments are all the more impressive when one considers the role of women in her heyday.However, the most interesting aspect of this film for me is how this intelligent woman (still lucid in her 90's) deals with queries about her political involvement during the National Socialist period in Germany.