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Olympia 2. Teil - Fest der Schönheit (1938)

Not Rated | | Documentary, Sport | 29 March 1940 (USA)
The document of the 1936 Olympics at Berlin, orchestrated as Nazi propaganda.

Director:

Leni Riefenstahl
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Cast

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

After being commissioned by the 1936 Olympic Committee to create a feature film of the Berlin Olympics, Riefenstahl shot a documentary that celebrates the human body by combining the poetry of bodies in motion with close-ups of athletes in the heat of competition. The production tends to glorify the young male body and, some say, expresses the Nazi attitude toward athletic prowess. Miss Riefenstahl captures the grace of athletes during field hockey, soccer, bicycling, equestrian, aquatic and gymnastic events. Highlights are the Pentathlon and the Decathlon, which was won by American Glenn Morris; it ends with the triumphant conclusion of the games. Written by Fiona Kelleghan <fkelleghan@aol.com>

Plot Summary | Add Synopsis

Genres:

Documentary | Sport

Certificate:

Not Rated | See all certifications »
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Details

Country:

Germany

Language:

German

Release Date:

29 March 1940 (USA) See more »

Also Known As:

Olymp II See more »

Filming Locations:

Berlin, Germany

Company Credits

Show more on IMDbPro »

Technical Specs

Sound Mix:

Mono

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

The production company Olympia-Film-GmbH, owned by Leni Riefenstahl and her brother Heinz, was only a front to preserve the film's political independence in front of the International Olympic Committee. It was in fact entirely funded by the Third Reich. The original contract stipulated that Olympia-Film-GmbH would be dissolved once production completed and the copyrights would be the sole property of the Reich. The dissolution only took place on 9th January 1942, with Riefenstahl being awarded 20% of the film's total earnings and naming the State as the only lawful copyright owner. See more »

Connections

Featured in Ai yori ai e (1938) See more »

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User Reviews

 
Festival of Beauty is Absolutely Correct!
25 August 1999 | by GrandSee all my reviews

Rarely -- perhaps never before or since -- has the sheer beauty of the human body and the joy in its perfection been as well captured as in in "Olympia, Festival of Beauty". Watching this is film is to capture some sense of what the Ancient Greeks meant when they discussed _arete_ -- the "virtue" of being "beautiful" in body and soul. The great Humanists of the Renaissance would have been honored to count Miss Riefenstahl among their number had they been able, by some miracle, to see this canvas of Beauty in motion. As art, this film ranks with the works of Michaelangelo, Donatello, Phidias, and others who have scaled the empyrean heights and seen Humanity looking back at them. Poignant is the dolorous thought that within a few years so many of these paragons of _arete_ would be killed in the War. It is no wonder that Joseph Goebbels was said to have disliked Riefenstahl -- while she (even in "Triumph of the Will") held a mirror to the beauty of humanity and its highest aspirations, he dredged up the most noxious evils of the soul and twisted them into images of fear & horror; while she emphasized unity and camaraderie, he stressed division & distrust in order to secure his own vile position under the Fuhrer whom they both viewed so differently. Miss Riefenstahl portrayed people of all races and nations at the most sublime pinnacle of their own perfection, while a few years later Walt Disney and the Warner Brothers gave us buck-toothed Japanese midgets and paunchy German robots as The Inhuman Enemy. Today, however, it is SHE who is reviled. The more things change ... the more they remain the same


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