I'm intrigued by your comments defending Griffith, but excoriating
I had the chance to see both Tiefland and Blaues Licht when they were at
Film Forum.  For the Blaues Licht, I found it astonishing that as a first
work she could make use of a visual vocabulary that seems to come from
German Romantic painting.  Tiefland surprised me, too, because it could
easily be taken as a socialist/anti-authority in which the little man wins
over the entrenched authority.  It would be hard to see it in any way as
That a large part of Riefenstahl's production was pro-Nazi seems to me like
an unfair argument.  Who knows what she would have produced had she been
allowed to find finance for films after 1945.  Perhaps she  would have
glorified the rearmament of Germany under American auspices.
Edward J. Haupt
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