1990's TO PRESENT

MAJOR EFFORTS IN THE 1990'S

International version of Riefenstahl's autobiography, released in the U.K. 1992

Looking no doubt at the complications, effort and time spent defending her position in history, Riefenstahl determined herself to complete an autobiography. Originally released in German in 1987 under the title Memoiren, what resulted was an exhaustive self portrait.

At 669 pages, the text is seen as her definitive statement on life under the Third Reich, as an artist, forever defamed by her accusers.  Riefenstahl's perception of the course of the controversial events of her life, those that she denounces actively, is clearly articulated in this text. Her belief remains that any review of her in history or cinema should begin and end with her "final" self assessment in Memoiren.

The autobiography's relation to the impending release of two biographical films (one by German based Odeon Film Studios, the other by Jodie Foster's Egg Pictures) maintains its highly relevant status even a decade after its release.

One Sheet Poster for Ray Muller's 1993 film, Power of Images

The Wonderful, Horrible Life of Leni Riefenstahl

Released internationally in 1993 under the much less melodramatic title, Power of Images (Die Macht der Bilder) this documentary claims to present Riefenstahl without preconceived ideas on what  her motives/agenda was during the Third Reich.  With a level of scrutiny rarely seen in such profiles, the film does succeed in being a complex portrait of its subject. Running time being over three hours, it is certainly the most thorough of documentaries on Leni Riefenstahl.

Interviewed throughout the film, Riefenstahl is challenged by director Ray Muller regarding her apolitical approach to filming Triumph des Willens, her use of gypsy extras from a local internment camp for Tiefland and her ongoing difficulty with those who continue to plague her with accusations that she hasn't adequately apologized for her actions.

Muller took the work after over a dozen international filmmakers passed on it, no doubt partially due to the inflammatory nature of its subject matter. The film went on to be a critical success both at the art-house box office and among film historians.

Muller states that after 60 years of accusations and being ostracized Riefenstahl is "paranoid about the kind of publicity she gets."  But Muller says, "its understandable. She's been abused by so many journalists, it's just unbelievable. Since the war she has gone to court fifty times, and she's won fifty times." 

Although Riefenstahl had apparently refused to see the film and reacted strongly to comments by her friends on what was in the movie (inaccurate reports that Holocaust images of concentration camps for example), she eventually engaged Muller's services again.

In late 1999 and early 2000 Muller worked with her to film her return to the Sudan and the Nuba. The documentary, Leni Riefenstahl: : Ihr Traum von Afrika is set to be released in Europe on DVD by Euro-Video in August of 2003.

Exhibits 

Eiko's exhibit on Leni Riefenstahl, LIFE, 1991

Certainly the full onslaught of criticism, protest and political backlash is known by those who have "dared" to show Leni Riefenstahl's works. These incidents, at Telluride and more recently Cinecon film festivals amongst many others, are known to all the  galleries, cultural institutes, film houses, award academies and academia. Many remain reluctant to even lend cultural support to art venues that exhibit her work, let alone take on the risk themselves.

Yet the photographic and film art of Leni Riefenstahl has tempted a few, in Japan, Italy, and most recently Germany. These few exhibits over the past 10 years provide a pivotal point in the public's perception of who Riefenstahl is. 

 Her work and those that offer it for exhibition note that she has a notoriety which might well eclipse the works themselves. Yet, when seen on display, the works have brought much praise and sell well. Exhibits in the last few years have been seen in Berlin, Moscow, and America.

American fine arts venue, Fahey/Klein Gallery in Los Angeles has opened an extremely rare U.S. showing of Riefenstahl photographs, during early 2001 of her Olympia work and on the NUBA in 2002.  http://faheykleingallery.com/home.htm

 CHRONOS  *

      1959            Venice Biennale   Film Retrospective         

      1964       Photo Slide Lectures, Nuba Photographs -  various USA venues     

       1964                             Bremen, Film Retrospective        

    1966         The Museum of Modern Art, Film Retrospective 

   1967    Vienna, Austrian Film Museum, Film Retrospective 

 1974  Telluride Film Festival, Colorado, Award Ceremony, screenings: Das Blaue Licht, Olympia 

 1980  Tokyo, Japan Photographic Exhibition, "Nuba by Leni Riefenstahl" by famed designer Eiko Ishioka 

 1991 Tokyo,  "Leni Riefenstahl, Life"  Photographic Exhibition by designer, Eiko Ishioka 

        1996  /  1997         Milan /  Rome      -     Photographic Exhibitions           

     1997   Leipzig  - Film Retrospective     

 1997   Cinecon Film Festival, Los Angeles - Award and screening - White Hell of Pitz Palu  

   1998   Potsdam, Germany - Photographic Exhibition, Film Retrospective 

   2000 Camera Works, Berlin  - Photographic Exhibition , Olympics 1936 

 2001  Fahey/Klein Gallery, Los Angeles  - Photographic Exhibition "Olympia" - Replicates Berlin exhibit of year 2000 

 2002  Fahey/Klein Gallery, Los Angeles  - Photographic Exhibition "NUBA"

2002  Torch Gallery, Amsterdam  - Photographic Exhibition "NUBA"

2002  Haus der Geschicte, Bonn, Germany  - Retrospective

   2003 Camera Works, Berlin  - Photographic Exhibition , Olympia / NUBA 

Again, it is an indication that some type of "rehabilitation" of Leni Riefenstahl may well be under way. Whether those that would never see her redeemed will allow this correction to occur remains to be seen.

* SOURCES - VARIOUS ONLINE PERIODICALS, FIVE LIVES, SIEVE OF TIME