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Les dieux du stade, la fête de la beauté

Titre original : Olympia 2. Teil - Fest der Schönheit
  • 1938
  • Not Rated
  • 1h 36min
NOTE IMDb
7,6/10
4,6 k
MA NOTE
Les dieux du stade, la fête de la beauté (1938)
SportDocumentaire

Ajouter une intrigue dans votre langueThe document of the 1936 Olympics at Berlin, orchestrated as Nazi propaganda.The document of the 1936 Olympics at Berlin, orchestrated as Nazi propaganda.The document of the 1936 Olympics at Berlin, orchestrated as Nazi propaganda.

  • Réalisation
    • Leni Riefenstahl
  • Scénario
    • Leni Riefenstahl
  • Casting principal
    • Shigeo Arai
    • Jack Beresford
    • Ralf Berzsenyi
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,6/10
    4,6 k
    MA NOTE
    • Réalisation
      • Leni Riefenstahl
    • Scénario
      • Leni Riefenstahl
    • Casting principal
      • Shigeo Arai
      • Jack Beresford
      • Ralf Berzsenyi
    • 23avis d'utilisateurs
    • 21avis des critiques
  • Voir les informations de production sur IMDbPro
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 1 victoire au total

    Photos258

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    Rôles principaux59

    Modifier
    Shigeo Arai
    Shigeo Arai
    • Self - Swimmer, Japan
    Jack Beresford
    Jack Beresford
    • Self - Rower, Britain
    Ralf Berzsenyi
    • Self - Small-Bore Rifle, Hungary
    Ferenc Csík
    • Self - Swimmer, Hungary
    Richard Degener
    • Self - Springboard Diver, USA
    Willemijntje den Ouden
    • Self - Swimmer, Holland
    Charles des Jammonières
    • Self - Free Pistol, France
    Velma Dunn
    Velma Dunn
    • Self - Platfom Diver, USA
    Konrad Frey
    Konrad Frey
    • Self - Gymnastics, Germany
    Marjorie Gestring
    • Self - Springboard Diver, USA
    Albert Greene
    • Self - Springboard Diver, USA
    Tetsuo Hamuro
    • Self - 1st Place: 200m Breaststroke, Japan
    Josef Hasenöhrl
    • Self - Single Sculls Rower, Austria
    Heinz Hax
    • Self - Rapid-Fire Pistol, Germany
    Adolf Hitler
    Adolf Hitler
    • Self
    Alois Hudec
    • Self - Gymnastics, Czechoslovakia
    Cornelius Johnson
    • Self - High Jump Winner
    Adolph Kiefer
    • Self - Swimmer, USA
    • Réalisation
      • Leni Riefenstahl
    • Scénario
      • Leni Riefenstahl
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs23

    7,64.5K
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    Avis à la une

    7TheOtherFool

    The better half of Olympia

    If Olympia 1 - Fest der Volker - was just a piece of documentation on the athletics of the 1936 Olympics, The 'Fest der Schönheit' is more than that, as it hails the human body and it's capabilities. Among other things, it shows us the preparation of the sportsmen and women, as well as gymnastics and horse-riding.

    In a way I feel too much is said and thought about Riefenstahl's and Olympia's connection to Nazi propaganda. Although that link is more apparent than in it's first part, the Fest der Schönheit isn't as compelling or scary (after 70 years) as the Triumph of the Will... Maybe it's not as important either?

    A beautifully made documentary with a story of it's own, but it's hard to judge Riefenstahl on just this movie. It really isn't as charged as a lot of people have in mind...

    7/10.
    9Agent10

    Seen with Part 1, a major achievement in sport and film

    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.
    7planktonrules

    Brilliant yet often dull....

    For the most part, this is just a continuation of the first part of "Olympia"--a documentary about the 1936 Berlin Olympics made by the notorious Leni Reifenstahl. Unlike her slobbering lover letter to Hitler in "Triumph of the Will", the "Olympia" films are NOT filled with German propaganda but are incredibly artistic films. They are filled with some of the best camera-work you'll ever see--and put more modern Olympic documentaries to shame in this regard. The films are gorgeous.

    The film begins with a lot of nudity--just like "Part One". This time, it's full of naked men doing all sorts of outdoorsy things--swimming, lounging, running and hanging out in the sauna. While it was not intended, there sure seemed to be a strong homo-erotic quality about it. But I assume the real purpose was to show an idealized view of modern Germans--like they are descendants of the original Greek athletes. Regardless, it's a lot of naked blond men cavorting about...artistically.

    Like "Part One", following this very artsy beginning, the rest of the film is a straight documentary showing the various Summer Olympic events. In all cases, the camera-work was brilliant. But the ones that REALLY struck me were the yachting scenes. How Riefenstahl and her crew did these shots is a mystery. I THINK they tagged along in boats and shot some of the scenes with a telephoto lens. Others, I suspect, were re-created for the film to give it added close-up realism. Regardless, the camera shots were amazing.

    Unfortunately, however, like "Part One", the film got VERY dull because just showing event after event got tedious--especially since the viewers have no idea who any of these folks are and the events occurred 73 years ago. Of course it looked great and was supremely composed...but still kind of dull. My feeling is that if you are a film snob, cinemaniac or appreciate art films, watch this and the first installment. Others might just find it a tough viewing.

    By the way--get a load of the gymnastic events. First, the participants were only men. Second, they all performed outdoors! Interesting how times have changed!
    m_a_singer

    The Nazi connection is both stronger and more complex

    ***warning: spoliers (of a sort)*** This is certainly the better of the two Olympia films, as others have noted, though some sequences are more interesting than others. Gymnastics gets its turn - not surprising, as Riefenstal trained as a gymnast - as do equestrian events, all-too- brief coverage of cycling, and a few too many yachts. This is the film with the diving, as others have noted, and it is not possible to overstate how brilliantly edited that sequence is.

    That sequence, along with the gymnastics which open the film, is the heart of "Olympia"'s rather complex connection with Nazi ideology. Watch these sequences, and notice how the athletes' connection with the ground is removed. The extreme slow motion and rhythmic editing take this beyond a celebration of beauty; it is a celebration of transcendence, the creation of an image of man larger than the world. The diving sequence at the end disolves into an idealized vision of Speer's Cathedral of Light, and the film ends with clouds, flags, flame, and a ladder of lights that pierces the sky. Together with Windt's underrated score, this film is one of the best examples of German Romanticism ever created. That idealization and transcendence, the piercing of matter to get at the spirit behind it, *was* a component of Nazi ideology, and Riefenstahl, who was not a member of the party (and, to be fair, seems to have been repelled by the Nazi's racism) was a fellow Romantic.

    Is it worth seeing today? Undoubtedly so, if only to see where modern sports coverage got its start. Think about those more complex connections, though.
    chaos-rampant

    Calligraphic dance

    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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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      Leni Riefenstahl's visit to the United States in 1938 was mainly aimed at finding a US distributor for the film. Faced with fierce protests from many American organizations, in particular the 'Anti-Nazi League', her plan never came to fruition. The first screening in the United States was organised in Chicago in November 1938 by Avery Brundage, president of the US Olympic Committee and an ardent Nazi sympathiser. The private reception was hosted by Mrs. Claire Dux Swift, ex-wife of the German film star Hans Albers. The second screening (also private) took place on 14th December 1938 at the California Club in presence of Olympic medalists and screen Tarzans Johnny Weissmuller and Glenn Morris (Riefenstahl's ex-lover), as well as Olympic diver Marjorie Gestring. For this screening, Riefenstahl submitted a copy where she had edited out almost all the scenes featuring Hitler.
    • Gaffes
      Just after Speer's 'Lichtdom' or Cathedral of Light is revealed, there is a procession of flags. The 7th flag, that of Portugal, is hung upside down on its pole. The same mistake is shown again a few seconds later as the wreaths are placed on the finials.
    • Versions alternatives
      It is well known that both parts of Olympia were made in three language versions - English, French, and German. Less well known is that each version is slightly different from one another. Additionally, at least with the English version, Riefenstahl frequently altered prints. The prints distributed on 16mm film in the 1960s did not have a boxing sequence, whereas current prints do (although the dialogue for the boxing sequence is in German). Even less well known is that upon its original release in the United States (1940), the Diving Sequence was about 1 minute longer than its current version (attentive soundtrack listeners can clearly hear the abrupt break in the music). This longer version of the Diving Sequence can be seen at the Anthology Film Archives (whose print comes from Raymond Rohauer) and the Museum of Modern Art, both in New York City.
    • Connexions
      Edited into Rammstein: Lichtspielhaus (2003)

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    FAQ

    • How long is Olympia Part Two: Festival of Beauty?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 2 juin 1938 (Allemagne)
    • Pays d’origine
      • Allemagne
    • Langue
      • Allemand
    • Aussi connu sous le nom de
      • Jeunesse olympique
    • Lieux de tournage
      • Berlin, Allemagne
    • Sociétés de production
      • Olympia Film GmbH
      • International Olympic Committee
      • Tobis Filmkunst
    • Voir plus de crédits d'entreprise sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      1 heure 36 minutes
    • Couleur
      • Black and White
    • Mixage
      • Mono
    • Rapport de forme
      • 1.37 : 1

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