IMDb > Olympia Part Two: Festival of Beauty (1938)
Olympia 2. Teil - Fest der Schönheit
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Olympia Part Two: Festival of Beauty (1938) More at IMDbPro »Olympia 2. Teil - Fest der Schönheit (original title)

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Overview

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Popularity: ?
Down 32% in popularity this week. See why on IMDbPro.
Director:
Writer:
Leni Riefenstahl (writer)
Contact:
View company contact information for Olympia Part Two: Festival of Beauty on IMDbPro.
Release Date:
29 March 1940 (USA) See more »
Genre:
Plot:
The document of the 1936 Olympics at Berlin, orchestrated as Nazi propaganda. Full summary » | Add synopsis »
Plot Keywords:
Awards:
1 win See more »
User Reviews:
Calligraphic dance See more (13 total) »

Cast

  (complete, awaiting verification)
Sheigo Arai ... Himself - Swimmer, Japan
Jack Beresford ... Himself - Rower, Britain
Ralf Berzsenyi ... Himself - Small-Bore Rifle, Hungary
Ferenc Csík ... Himself - Swimmer, Hungary
Richard Degener ... Himself - Springboard Diver, USA
Willemijntje den Ouden ... Herself - Swimmer, Holland
Charles des Jammonières ... Himself - Free Pistol, France
Velma Dunn ... Herself - Platfom Diver, USA
Konrad Frey ... Himself - Gymnastics, Germany
Marjorie Gestring ... Herself - Springboard Diver, USA
Albert Greene ... Himself - Springboard Diver, USA
Tetsuo Hamuro ... Himself - 1st Place: 200m Breaststroke, Japan
Josef Hasenöhrl ... Himself - Single Sculls Rower, Austria
Heinz Hax ... Himself - Rapid-Fire Pistol, Germany

Adolf Hitler ... Himself
Alois Hudec ... Himself - Gymnastics, Czechoslovakia
Cornelius Johnson ... Himself - High Jump Winner
Adolph Kiefer ... Himself - Swimmer, USA
Masaji Kiyokawa ... Himself - Swimmer, Japan
Reizô Koike ... Himself - Swimmer, Japan
Erich Krempel ... Himself - Free Pistol, Germany
Käthe Köhler ... Herself - Platform Diver, Germany
Eugen Mack ... Himself - Gymnastics, Switzerland
Shôzô Makino ... Himself - Swimmer, Japan
Rie Mastenbroek ... Herself - Swimmer, Holland
Jack Medica ... Himself - Swimmer, USA
Glenn Morris ... Himself - Decathlon, USA
Dorothy Poynton ... Herself - Diver, USA (as Dorothy Poynton Hill)
Katherine Rawls ... Herself - Springboard Diver, USA
Michael Reusch ... Himself - Gymnastics, Switzerland
Elbert Root ... Himself - Platform Diver, USA
Willy Rögeberg ... Himself - Small-Bore Rifle, Norway
Aleksanteri Saavala ... Himself - Gymastics, Finland
Alfred Schwarzmann ... Himself - Gymnastics, Germany
Gustav Schäfer ... Himself - Single Sculls Rower, Germany
Johanna Selbach ... Herself - Swimmer, Holland
Neda Senff ... Herself - Swimmer, Holland
Erwin Sietas ... Himself - Swimmer, Germany
Herman Stork ... Himself - Platform Diver, USA
Leon Stukelji ... Himself - Gymnastics, Yugoslavia
Noboru Terada ... Himself - Swimmer, Japan
Torsten Ullman ... Himself - Shooting Competitor, Sweden
Shunpei Utô ... Himself - Swimmer, Japan
Albert van den Weghe ... Himself - Swimmer, USA
Cornelius van Oyen ... Himself - Rapid-Fire Pistol, Germany
Matthias Volz ... Himself - Gymnastics, Germany
Conrad von Wangenheim ... Himself - Steeplechase, Germany
Catherina Wagner ... Herself - Swimmer, Holland
Josef Walter ... Himself - Gymnastics, Switzerland
Marshall Wayne ... Himself - Diver, USA
Rolf Wernicke ... Narrator
Masanori Yusa ... Himself - Swimmer, Japan
Albert Bachmann ... Himself - Gymnastics, Switzerland (uncredited)
Daniel Barrow ... Himself - Single Sculls Rower, USA (uncredited)
Wladyslaw Karas ... Himself - Small-Bore Rifle, Poland (uncredited)
Paul Laven ... Narrator (uncredited)
Hideko Maehata ... Himself - Swimmer, Japan (uncredited)
Shigeo Sugiura ... Himself - Swimmer, Japan (uncredited)
Masahari Taguchi ... Himself - Swimmer, Japan (uncredited)

Directed by
Leni Riefenstahl 
 
Writing credits
(in alphabetical order)
Leni Riefenstahl  writer

Produced by
Leni Riefenstahl .... producer
 
Original Music by
Herbert Windt 
Walter Gronostay (uncredited)
 
Cinematography by
Wilfried Basse (uncredited)
Leo De Lafrue (uncredited)
Walter Frentz (uncredited)
Hans Karl Gottschalk (uncredited)
Richard Groschopp (uncredited)
Willy Hameister (uncredited)
Walter Hege (uncredited)
Werner Hundhausen (uncredited)
Albert Kling (uncredited)
Ernst Kunstmann (uncredited)
Guzzi Lantschner (uncredited)
Otto Lantschner (uncredited)
Kurt Neubert (uncredited)
Erich Nitzschmann (uncredited)
Hans Scheib (uncredited)
Hugo O. Schulze (uncredited)
Károly Vass (uncredited)
Andor von Barsy (uncredited)
Fritz von Friedl (uncredited)
Heinz von Jaworsky (uncredited)
Hugo von Kaweczynski (uncredited)
Alexander von Lagorio (uncredited)
Willy Zielke (uncredited)
 
Production Management
Walter Traut .... production manager (uncredited)
 
Camera and Electrical Department
Hans Ertl .... underwater cinematographer (uncredited)
 
Editorial Department
Erna Peters .... assistant editor (uncredited)
 
Crew believed to be complete


Production CompaniesDistributors

Additional Details

Also Known As:
"Olympia 2. Teil - Fest der Schönheit" - Germany (original title)
See more »
Runtime:
Sweden:96 min | USA:90 min
Country:
Language:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Certification:
Filming Locations:

Did You Know?

Trivia:
Leni Riefenstahl first contacted the biggest German film studio, Ufa, in order for them to finance the film. Friedrich A. Mainz, the studio head refused because of cost, so she contacted Tobis-Filmkunst who agreed to finance the film and put up ½ million Reichmarks upfront (three times the cost of a standard film at the time). The contract was only signed in December 1936, four months after the end of the Olympic Games.See more »

FAQ

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2 out of 2 people found the following review useful.
Calligraphic dance, 15 July 2012
Author: chaos-rampant from Greece

This is the one to watch, Riefenstahl's masterpiece. Das Blaue Licht is great but dares less. You know about Triumph; people being choreographed to embody a new identity, destructive and all that.

Olympia Part I had moments of beauty but it was constrained in key ways. It was constrained by Hitler being there. By nations parading and saluting. You could not fail to note that all of it, much more subtle than Triumph, in the end impressed as a show staged to promote a German image, much more subtle because the image was of normalcy and spontaneous celebration.

This is a different thing. You probably know that Riefenstahl was a dancer before making her transition to film, you can see her dance in one of her first films as an actress. All of her own films are about choreographed sculpted form, but this is the one most purely about cinematic dance and the body.

Eisenstein filmed active crowds in radical collision that creates a world (now his devices are every bit as commonplace as Riefenstahl's but in a different milieu). She films crowds as cheerful observers of vigor. Most of all, she films the body as the fulcrum of harmonious expression that seduces the camera that seduces us seeing and being affected by this. It doesn't matter if the world is changed, or maybe she trusted that it had a few years back, it only matters that the soul - theirs at the moment, ours cinematically - can brush against the heavens.

Each sport is a framework that dictates its own dance. Each dance is slightly different and calls for a different camera. The body is free but within confines of the sport. The camera is similarly free to draw its dynamic calligraphy within edges of the frame.

In the regatta for instance, white sails group and re-group in swanlike formations and contrast with sailors throwing their weight around the boats and pulling ropes. Cyclists and rowers pass one the other in horizontal forward-dashing and overlap. Boxers are locked in gristly tango. Horse-riders glide over mud as though skating inches above-ground. The gymnastics are all about eddy and suspension in mid-air. In the polo sequence, the dance is all between tracing the zigzag flow of the game and Kurosawa-like whip-pans of the riders smashing against vertical beams in the far background. Other sequences like swimming and football are less interesting.

Above all, of course, stand the celebrated divers. You can tell that Riefenstahl loved them (she counted an Olympic medalist diver among her lovers) by how imaginatively she filmed this bit and saving it for last. This notion is never more clear, of a camera that dances with and decides the weight of its partner. She achieves here pure weightlessness.

In light of this, the closing ceremony of fire and celestial light - now common tropes of Olympic shows - is on top of ludicrous simply redundant. Her explicit bits of Wagnerian worldview are the least interesting of her work, always were. Yes, Nazis must have been enormously pleased by her artistry of transcendent sensuality. It still looks dull-witted and overwrought.

On the flipside of that is her floating calligraphic eye that was unparalleled at this time.

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Recent Posts (updated daily)User
Along with Part 1 simply the most beautiful film ever made. mowgli_07
Choral music... Anna_Screengazer
A masterpiece?? pywalkye2
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