Yesterday we surveyed the career of Hitler’s “perfect German woman,” close friend, and personal filmmaker, Leni Riefenstahl, who lived to be 101 years old and to party with Mick Jagger. Hers was a fascinating life – so fascinating, indeed, that more than one major Hollywood player has made serious efforts to get a film about it off the ground.

In 2007, for example, it was reported that Jodie Foster, after spending seven years trying to put together a movie in which she would play Riefenstahl, had “settled on a script by British writer Rupert Walters” and was looking for a director. During Riefenstahl’s life, Foster had tried to persuade her to cooperate with the project, but Riefenstahl had refused – partly because Foster wouldn’t grant her script approval, and partly because Riefenstahl would have preferred to be played by Sharon Stone, not Foster.

By 2013, the project had passed into the hands of director Steven Soderbergh, who explained that he wanted “to see if we could make the audience root for her and treat Hitler and Goebbels as like the studio heads [!] and treat her as the aggrieved artist who is being held back by Philistines.” Soderbergh thought it “would be interesting if you could somehow over 90 minutes convince somebody to root for someone who probably on some level was pretty horrible.”

Soderbergh (who has directed such films as Erin Brockovich and Contagion) emphasized that the Riefenstahl movie would “at no point leav[e] her point of view, or delv[e] into any of these moral questions,” because the moral questions would already be “there for the audience. They don’t need to be there for her.” At the same time, however, the goal of the picture would be to manipulate the audience into “rooting for her to win.” As Soderbergh imagined it, the film would end with Riefenstahl “onstage after the premier of ‘Triumph of the Will’ with people throwing roses at her.”

What to make of this?  Granted, there may be a legitimate concept for a motion picture somewhere in there: movies have been made, after all, about various monstrous personages, both historical and fictional, in which part of the filmmaker’s challenge has been to trick viewers into identifying with (if not necessarily sympathizing with or “rooting for”) them, so as to personalize and enrich and deepen the audience’s experience of evil. But this kind of approach requires immense moral discrimination, historical understanding, and aesthetic delicacy on the part of a director; somebody capable of drawing a glib equation between Hitler and a Hollywood studio czar is unlikely to fit that bill. 

So a movie centering on Leni Riefenstahl has yet to be made. But guess what? She’s now a character on the big screen, anyway – in a new biopic about Jesse Owens, the black American runner who collected four gold medals at the 1936 Olympics. Those victories famously infuriated Hitler, who saw them (quite rightly) as undermining Nazi race ideology. The Owens film, Race, directed by Stephen Hopkins, reportedly depicts Riefenstahl as downright heroic. In one sequence, according to a June article by Will Lawrence for the Telegraph, Propaganda Minister Joseph Goebbels orders Riefenstahl’s cinematographer not to film the 200-meter sprint. Why? Because Goebbels suspects Owens will win, and no Nazi film is going to show a black man emerging triumphant. The cinematographer complies, and covers the cameras. Riefenstahl, hearing of this interference by Goebbels, “storms into the stadium and pulls the covers off her cameras.” Writes Lawrence:

Nobody is going to tell her what she can and cannot film. She will film Owens. The Reich minister can go to hell. The implication could not be clearer: Riefenstahl, Hitler’s favourite filmmaker, had no truck with Nazi dogma, and documented Owens’s triumphant performance in the 200 metres against Goebbels’s wishes.

Portrayed in Race by Carice van Houten, an actress familiar from the TV series Game of Thrones, Riefenstahl is described by Lawrence as “a benign presence throughout the movie.” Tim Robey, the Telegraph‘s film critic, liked the movie but wondered aloud if the real-life Riefenstahl was really such a charmer. 

For her part, Van Houten drooled over Riefenstahl, telling Lawrence: “I have a huge fascination with, and admiration for, her work….If you see the footage from Olympia, it is unbelievable what she did.” Okay, we’ll give Van Houten a break: she’s young (and an actress). But Hopkins – a guy in his late fifties, old enough to know about World War II and to have given some thought to the subject of Nazism – was also quick to say unsettlingly positive things about Hitler’s “perfect German woman” (who, let’s recall, praised her beloved Führer for “achieving deeds without parallel in the history of mankind”). In an interview with Lawrence, Hopkins called Riefenstahl a “bohemian, café-society artist with lots of Jewish friends” who “wasn’t necessarily a political animal.” Oh, not a political animal! Yes, she knowingly worked with and glorified on celluloid a mass-murdering dictator; yes, she witnessed an execution of innocent Jews by soldiers under that dictator’s command; yes, she knew that when gypsy extras were through working on her movie Tiefland they’d be sent to gas chambers. But she “wasn’t necessarily a political animal.” So by all means, let’s applaud her memory.