… my Fuhrer I am afraid I cannot make this film
( more contradictions and double standards )
I wanted to escape any further involvement with Hitler’s projects, Leni writes in her post war memoirs, and was her reason given for her quick acceptance of her decision to start her new film roles in Tiefland, prior to Triumph of the Will.
She had not the slightest interest in making another Party Rally film (if you believe).
So why did Leni rename her film company, from L.R. Studio-film Inc. to Reich Party Rally Film Inc. if she wanted to distance herself so much from such work in the future and was not interested in making anymore Party Rally films.
Further, if she was so adamant ( in her own words, ‘I was determined to resist taking on this assignment’ (TOW)) about not making another Party Rally film, why did she team up and throw 170 staff on to make (TOW) when she had used only 5 staff to make Victory of Faith; and when 33% of the film budget for (TOW) had already been spent by her chosen director Walter Ruttmann.
Could this be the biggest lie, ‘ I asked Hess to tell me where I could reach Hitler, for I absolutely had to speak to him personally in order to beg him not to force the project (TOW) on me.’
So does Leni now become the ‘reluctant passenger’ or really the ‘main driver’ of the film (TOW).
One hour later she was in her car, speeding to Nurembourg with only one thought in mind, to ‘free’ herself from the project (TOW)… if you believe.
With her main reason given she was completely unfamiliar with the subject matter ( but the subject matter was simply the Party Rally ).
Originally Hitler only asked Leni for 6 days of her time to shoot the film (TOW) whereas Leni interrupted to confirm it would take months! (does this really sound like someone who does not want to do the project or another Party Rally film).
Again during the making of (TOW) Leni later writes in her post war memoirs, that a plot would be inappropriate (again herself missing the basic plot premise that is the Party Rally itself …if you believe).
Does all this represent her ‘get out clause/excuse’ for any future redemption, which again she uses as an explanation during her own post war trial transcripts. Or is this just how she comes to terms with reconciling the actions and consequences of her past and to maintain her own sanity and/or peace of mind, with what remains as her finished films, and as a product of her own work.
During the making of (TOW) Leni wanted to install rail tracks for the cameras wherever she could at the rally site and also wanted to install a tiny lift on a 140 foot flag pole for best visual effects, and did also install a 35 foot balcony with tracks around the house where Hitler usually watched the parades-further installations for the film also included circular tracks around a podium. (again does this all sound like the ‘reluctant film maker’)
Editing (TOW) from 400,000 feet of rushes when only 10,000 was required, was that also necessary from such a reluctant film maker to only end up using less than 3% of what was filmed.
Leni writes further in her post war memoirs that during the making of (TOW) she had no model to follow to create the film, with nothing to follow, she had to experiment, again why would such a reluctant film maker go to all the trouble of experimenting, when she was also working long hours, sometimes 16 hour work days being driven home at 5.00am on a project she never wanted to do in the first place… if you believe.