Les dieux du stade, la fête des peuples

As you nicely pointed out the NFL footages that you watch today, and those of Olympia that were shot some 60+ years are the same. Which means that NFL is still using techniques that Leni Riefenstahl explored long time ago, which further means that she's 60+ years ahead of her time. When you denounce something you have to look at it from the historical context. This was groundbreaking at time, and every sport event coverage since borrowed from it. Leni Riefenstahl actually wanted to be catapulted with a camera to give an incredible feel of one of a kind sports event, but this could not be carried out. NFL ought to try some of this innovation that Leni considered long time ago, we're much more technologically advanced now...

I've read that this film, which portrays human beauty and athletic success, serves to justify euthanasia of the weak and infirm. If so, does not Da Vinci's David do the same?

My belief is that without the historical context, there would not be a single viewer who would suggest that this is propaganda fostered to support the atrocities of the Nazi Regime. As another reviewer suggests: this is no better than an NFL highlight film.

Actually, this is better than an NFL highlight film. Highlight films focus only on isolated moments of peak action. Do most of us prefer to just see the winning basket or the last touchdown? It's the game, the show, the story which gives us pleasure - not just the ending or spectacular feat.

The beauty of this film and its companion lies in its crafting. The lighting, the camera angles, the sequencing, the pace - everything is blended to produce a thing of beauty. It's like the chef who creates a feast with the same ingredients we manage to render a barely palatable meal. Leni produces a feast - a beautiful feast!

I first viewed this film at the Museum of Modern Art 35 years ago;I now own it and the years have only added to my astonishment of what a genius Leni is. She took film to a new and higher art form. The Nazi noise does get in the way, but the epic scope and feel of the finished product make it worth viewing. And yes, part one is far superior, but part two is certainly a work of art also. It is a masterpiece. Would that she had done more. She is a most fascinating artist.

If this film was never made, the current camera movements and angles we see today on television would probably never exist. Given unquestionable freedom, Leni Riefenstahl created a film which is bold in composition and visual aptitude. The motions of athleticism are caught beautifully, especially the diving sequence and the running sequences. While many will say Riefenstahl was a pro-Nazi film maker, one cannot deny the innovation she instilled in the art of film making. If you can take the near 4-hour running time and the fact there is no dialogue in the film, then experience this film for the power and breathtaking visuals, not the supposed pro-Nazi agenda.

something like 50 cameramen. 18 months of editing. they invented the underwater camera FOR THIS DOCUMENTARY. it is a beautiful and amazing achievement. the fact that Leni managed to make a live event look like something staged, planned, rehearsed- simply amazing.