?Leni Riefenstahl?s ?Triumph of the Will? is a signifi dischar entrance fix of work from the perspective of the whole National Socialist cinema. not only is it the most famous of the selects do during the period of the tertiary Reich, but it is also the only Nazi film made directly about Hitler. Hitler had commissioned the film to portray him the guidance he wanted to be seen: as the embodiment of Germany and its muckle. That credit was meant to be mutual: just as Hitler was the reflection of them, the German people were the same of Hitler. Rudolf Hess? words at the end of the film fit to illustrate that relationship the best: ?The Party is Hitler. only if Hitler is Germany, just as Germany is Hitler?. ?Triumph of the Will? served to identify Hitler with Germany and transgression versa, he was depicted as the representation of everything German and the restore personification of the ?New Germany? that was proclaimed to last for thousand years. Hitler enjoin the film to put an equal sign between him and his people and country and Leni Riefenstahl used numerous devices to stress that idea of identification.
The mythic image of Hitler as the carrier of ideals is displayed already in the starting time scenes of the film.
We see him descending from the skies on an aeroplane and his followers anxiously waiting for his arrival. Through the clouds Nuremberg, ?the most German of the German cities?, can be seen with its medieval towers and spires and the streets and lined by thousands of marching soldiers, creating the prototypical geometric pattern of humanity to be shown in the film. The honorable mention to messiah is definitely not an incidental one. Throughout the film, Hitler is juxtaposed against the sky as to remind his divine origin. This opening...
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