One of the best glimpses into the ideas at the core of National Socialism is Leni Riefenstahl’s revolutionary film, Triumph of the Will. In fact, just by watching the film, one can see many mainstream lies about Hitler and the NSDAP debunked right before their very eyes. This is likely the main reason why the film is made to be hard to access. It also contains Hitler and many other National Socialists in their own words, no footnotes, slyly guided text or other elaborate sophistry that has otherwise pervaded all official information on this subject.
Riefenstahl the Documentarian and Artist
The first and most important fact about this film is that it is both a documentary and art. Leni Riefenstahl and her crew were involved in the planning and overall coordination of the 1934 NSDAP rally, though this was mostly so that they could plan the complex camera moves amidst the multitude of events. The result is a film essentially transcendent of any conventional category. Riefenstahl guided the camera to be a participant in the events, a reporter on them as well as a near omniscient observer that offers the film’s most interesting points of view. Together, these three motifs, with the third being the strongest in this regard, elevate the film far above mere reporting on the events and into the realm of the immortal. The results are as enthralling as they were when the film was first shown.
This is a film against time.
The overall theme for the film is Kampf and Folkism in action. The city of Nuremberg becomes a microcosm for a united Reich that has triumphed over its chaotic and corrupt predecessor, the Weimar Republic. In the opening sequence, there is a message of hope for a Germany no longer obliged to feel the shame that was thrust upon it and from amidst the now parting clouds, Hitler arrives at Nuremberg as a version of the Horst Wessel Song plays. Down in the streets, people from the city are already coming out to greet the Führer. When the plane lands we see that it’s the people of Nuremberg as well as all those who came from other corners of the country for the event, citizens and soldiers. Nuremberg is now the Reich, and the parades and the marching, the formations and uniforms are a victory over the decadence that had sprawled and engorged itself during the previous decade. Hitler’s speeches then show that this new order has purpose: to fill the vacuum of leadership so that the people can once again be part of a greater structure that allows them to work for the benefit of their fellow citizens and country that is no more a mere nation state or name on the shadow banking industry’s client list. It’s a free and prosperous realm where citizenship is earned and productive labor and public service are the path to it for those born within the realm’s borders as well as those not.
Riefenstahl and her crew used film making techniques revolutionary for their time to document the 1934 NSDAP party rally – aerial shots, dissolves, wipes (also in conjunction with pans), fades, symmetrical shots, music on cue and all integrated with each other – to craft a living and breathing work of film art that’s skillfully captured and masterfully edited. The grand patchwork of the various shots and film techniques employed are symbolic of the Folk itself as all cooperate for the common and even greater good. Triumph of the Will is a timeless artistic expression of Idealism and the Folk idea for future generations. The film’s production itself was revolutionary as its leader and visionary was a woman at a time when Western film was male dominated purely out of traditionalist gender roles, and largely still is to this day. Thus, the film’s mere existence is an example of transcendence, and this is only force multiplied by its content.
“Posts are awarded only with regard to talent, not in virtue of titles that are often no more than valueless pieces of paper… Priority for talent, that’s the only rule I know!” ~Adolf Hitler, Table Talk
Hitler the Leader and Radical
In today’s Zionist Correct sphere of debate, both liberals and conservatives very frequently try to liken their political opponents to “the Nazis.” This emotion-stirring and divisive accusation is meant to keep very lively debate within a limited sphere that misses the point of what Hitler did with German society and politics. Instead of the countless divisions and endless futile discussion fomented by parliamentary systems, Hitler went to the root of the German populace. He went to the one place where all citizens were the same in their national identity and ultimate aspirations, and with this he ultimately encouraged the formation of the Folk, the radical alternative to the previous foppery.
The sequence that best demonstrates this is the start of the second day of events in Nuremberg and at the NSDAP rally. The sun rises to bring a new day as the city’s people awake. Apartment shutters open revealing the historic city that is now taking a new direction as can be seen in the Swastika flags that are draped from certain buildings. These flags, seen through windows, are juxtaposed in the film’s edit with plants on windowsills signifying newly planted life. Then we see a montage of the city and a fade from the cathedral towers to the tents of the SA and SS encampment near newly built stadium where activity has also started. This fade from an old religious building to the troops of the new order draws a spiritual connection, as the NSDAP’s goals were never just political and were also more than just social.
Amidst the tents, the morning drumbeat begins, as the troops get ready. Boots are polished, faces are washed and shaved, hair is combed, and fellow troopers wash each other’s backs. Lastly, the uniforms come on and before it’s time for the morning meal. The troopers receive soup from large vats. The communal soup meal, “Eintopf” in German or “one pot,” was a favorite meal of Hitler’s as it perfectly reflected the Aryan community spirit. There is no dialog in this sequence, just a joyous music, which includes human voices, as both music and a Folk spirit can create happiness all by themselves and even more so when they are in cooperation. The result in this sequence is a true harmony of sound and image, and of two mediums, film and music. Included in this sequence are also children and farmers, which where held in highest regard by Hitler and he is seen greeting them personally.
The scene that demonstrates the core and axis of the Folk idea is the “Kamerad, where are you from?” scene. For much of its history, Germany was a realm of many competing territories that were loosely bound by a general culture and language. After a long series of ups and downs culminating in the rotten morass of the Weimar Republic, Hitler inspired the varied German citizens to stand together and overcome their previous qualms and/or indifference towards each other. Now the Reich’s citizens stand together as is symbolically demonstrated at the Nuremberg Stadium with uniformed Reich Labor Service workmen in formation. The leader of the formation asks one member, “Kamerad, where are you from?” and he uses the informal you, “du” in German, to sow a spirit of closeness and cooperation. The first member answers, then another and another, each in their regional accent.
“From Friesland, from Bavaria, from Kaiserstuhl, from Pomerania, from Königsberg, from Silesia, from the coast, from the Black Forest, from Dresden, from the Danube, from the Rhine, and from the Saar.”
Cities and regions are now all joined into the German Folk: “One people, one Leader, one Reich, one Germany.” Each section of this last bit of dialog is placed with its own onscreen image: the RLS workmen, Hitler, the Reich Eagle, and the Swastika flag. This is very telling, as at the time of the film’s production these were all new elements and symbols introduced by Hitler and the NSDAP. Hitler inspired the citizens of Germany to look at their roots and see that the best thing that they can do, despite their differences, is cooperate and build a new and common future from their varied pasts and using their various talents.
Hitler’s speeches in the film are powerful and passionate. While some other NSDAP members speak from a podium inside a large hall, Hitler speaks outside in the sunlight from a large stone post to a massive formation of uniformed workmen. The speech starts calm and steady, and by the end the entire stadium resonates with that titan voice exemplifying unparalleled dedication to a cause and an unmatched charisma. Hitler wears his Chancellor’s uniform and it’s in perfect form down to the smallest crease, as he is a leader that never expects from his people what he hasn’t already done himself. In the Nuremberg stadium, the microcosm of the Reich, both Citizen and Leader stand in impeccable form. Previously, outside in the city of Nuremberg during his arrival, Hitler too stood with that same ideal posture as he greeted the gleeful city residents who had come out to see him. Thus, we can see that Hitler holds himself to a much higher standard of self-discipline than he expects from his people, the same as Jesus, Mohammed and Siddhartha did in times past. The scene ends with a cross fade between Hitler and marching members of the Reich Labor Service showing a leadership symbiotic with its citizens.
The next day, day three, we see perhaps the most vital element of the new German folk and it is with this that Hitler guided Germany out of the false dichotomy of conservatism and liberalism, of capitalism and communism, of traditionalism and progressivism. On this day, the NSDAP shows its appreciation for the youth of Germany, and in particular the next generation that will grow up on the new social model of the Folk and not in the traditional family clan/tribal-based system. Hitler’s key words here are the ones that start the core of his speech.
“We want to see no more class divisions. You must not let this grow up amongst you.” ~Adolf Hitler, Triumph of the Will
Hitler was well aware of the kleptocratic and oligarchic systems that had gripped and suffocated much of the world, and he was also keenly aware of the barbaric Bolshevik reaction in Russia that soon spread to other parts of that world and was financed by the shadow oligarchs of capitalism. If Hitler’s goal had been mere survival, he would have found a comfortable place for Germany within this violently expanding bi-polar system, however he chose to defy it and this meant making sure that the next German generation sees something else and something much more profound. Thus, Hitler stressed the country’s self-reliance, the class cooperation of its citizens, the diligence to shun material excess, and the will to keep them all going. To some it up into one word: militarism, or organized function with purpose.
A brief spectacle follows including formations of horse riders and armored cars, showing a progression of technology. It is a lighthearted example of what Hitler was talking about earlier. In the next scene, a massive march of all rally attendees with flags to a podium under a huge illuminated eagle banner from which Hitler, once again, speaks. The NSDAP revolution was not to create a newer and better state order, it was to transcend the old nation state and replace it with something better. And this is not something that can be understood by those locked in the nation state mentality. Clearly, Hitler is speaking of things other than just economic growth, national interest and human rights, which are some favorite terms of the capitalist-communist dichotomy. And it’s established fact that National Socialist Germany created things that it’s parliamentarian predecessor had no hope of doing, such as ending class strife benevolently by sowing the seeds of cooperation amongst good citizens and residents, ending unemployment, building critical infrastructure, promoting drug free living, and more.
The next and final day of the rally, we see the most famous outdoor scene with the epic symmetrical aerial shot of the stadium in full attendance. Hitler proclaims the unity and integrity of the National Socialist movement despite rumors that have been spun to the contrary. A parade begins in the Nuremberg Stadium, which was a building designed by Albert Speer as an example of NS architecture, and then it goes out into the streets for all to see. From Hitler’s regular public speeches, to NSDAP commissioned art and architecture, to publically promoted events such as the Bayreuth Festival, the message of National Socialism is always outward and Folk oriented. There is no secretive Politburo (Communist oligarchs) meeting behind closed doors or bank/financial elites (Capitalist oligarchs) meeting at a posh private resort. In National Socialism, there is Kampf and Folkism, and here we see it in action.
The Impact of the Film
The single biggest lie that a viewing of this film can dismantle is the Zionist peddled notion that National Socialism is hateful or in some other way(s) negative. Upon viewing the film, one can see that the German National Socialists are in no meaningful way like current neo-Nazi groups, which the Zionist Correct media never fails to underscore as current representatives of National Socialism, yet the only similarity is a purely superficial one: use of same and similar symbols. While the core of National Socialism, meaning its revolutionary rhetoric, its transcendence of false dichotomies, its powerful drive to reform a nation into a Folk and the rigor and discipline with which it proceeded are all missing from those most vocally indicated as “followers of National Socialism” today. Ergo, by seeing this film, you can see that the mainstream media and academia are lying about Hitler and the NSDAP.
Another big lie that a viewing of this film can unravel is the Zionist force-fed notion that “the Nazis” were obsessed with Jews, whether it was to ostracize them, steal from them, expel them, or kill them. The mainstream makes it seem as if that’s all Hitler ever wanted, yet all that is just another example of Jewish arrogance that insists on putting itself at the center of attention and asserts that all those who criticize Jews and stand against their methods are hateful or in some other way(s) negative. Upon viewing the film, one can see that neither Hitler nor any of the other speakers even once mention Jewry, as it was never their intention to be obsessed with the scourge of their fellow citizens. On the contrary, the NSDAP leadership’s intentions were positivism and improvement, and this meant a focus on the citizens and workers of Germany; on their working conditions, their ability to fairly earn a livelihood, their ability to utilize their talents, and their ability to use their hard earned livelihood on healthy leisure.
A famous positive reference to Triumph of the Will, though one that’s not entirely obvious due to Triumph of the Will’s limited availability, can be seen at the end of Star Wars. The reference appears as the victorious rebellion’s soldiers stand in formation and the heroes march down the center to receive accolades. The framing here is taken directly from the scenes in Triumph of the Will that take place in the concert hall where the NSDAP Rally is formally opened and where it’s closed, meaning both Triumph of the Will and Star Wars end on the same visual cue. Additionally, the theme of overcoming of an oppressive empire is also relevant, as Hitler rebelled against the shadow financiers that hold nations by puppet strings. The superficial aspects of Star Wars appear to be anti-authoritarian, yet the deeper aspects are anti-British Imperialism and it is out of the British Empire that shadow finance dominated by the Jewish Rothschild clan emerged. For one, all Imperial Officers speak with British accents, but none of the rebels do. Second, the logo of the Galactic Empire is a six-pointed icon just like the symbol of Zionism. Perhaps, it’s no surprise that Star Wars creator George Lucas largely works outside of Jewish-dominated Hollywood.
Clips of Triumph of the Will were also famously inserted into Stanley Kubrick’s A Clockwork Orange, where a victim of a conditioning experiment is being psychologically and physiologically programmed to feel an overbearing sickness that is to accompany, and thus curb, his propensity for violence and perversion. The scene ends up playing out like a Zionist fantasy as the man is literally programmed against National Socialism, yet this man had shown no previous interest or emulation of anything National Socialist. And on top of that, the staff assume, since he was a violent man that he must in someway be interested in National Socialism! Ironically, the “doctor” in the scene has a Jewish and/or Soviet sounding name, Brodsky, and Jewish phenotypes abound in facility staff. Kubrick, himself a Jew, had no concept of healthy racialism, and also seemed to be conflicted about Zionism, and thus along with his inability to see past “the evil Nazis,” he was led to make this odd and telling scene about how National Socialism is presented: it’s presented inaccurately and in a way to intentionally churn disgust, since the broadcasters are all Jews or other Zionists just like the staff in the secretive medical facility! It’s practically an unintentional satire on the Zionist-dominated media.
Charlie Chaplin also saw Triumph of the Will when it was shown in the United States at the Guggenheim Museum in New York City. Reportedly, he found the film hilarious and the experience led him to make his Hitler-mockery, The Great Dictator. Unwillingly, Chaplin did his part in proving Arthur Schopenhauer’s famous adage: “All truth passes through three stages. First, it is ridiculed. Second, it is violently opposed. Third, it is accepted as being self-evident.”
The Progression of National Socialism
National Socialism was a great endeavor that Hitler himself admitted would only bare its best fruit some 25 or even 50 years after its initial implementation. It was a complete change in society and deeply rooted processes such as social norms and economics can take a generation’s time to change. This was the reason for Hitler holding youth in such high regard, as they were the idealists who would ultimately build the new order, while Hitler and the Old Guard NSDAP would just identify and assemble the initial building blocks. Also, in his time, and with the end goal in sight, Hitler made many strategic concessions to the conventional political spectrum and Riefenstahl’s film shows a few of these.
In the communal soup scene we also see some sausages. Hitler, a dedicated vegetarian (without the later established diet-related gradients, he was technically a vegan by today’s standards), would have shunned sausage, however cultural conservatives would have balked. Thus, in the early stages of being in power for just over a year, a nod to Nuremberg traditions was made. Nuremberg sausage remains popular to this day. However, the sausage is just given the “one shot” or included in one camera angle for a few seconds and then pretty much forgotten. The scene focuses heavily on the communal soup meal, including a shot of a cook tasting the soup to great satisfaction. The contents of the soup is not focused on at all, thus the soup may as well be a vegetarian one.
Some old Reich soldiers, the Weimar Era conservatives, were included in a shot and are mentioned at the rally’s opening, as is the late president Paul Hindenburg. The one shot is given here too as the whole of the rally then focuses on the new Reich Labor Servicemen, the SA and SS, and, of course, on the Hitler Youth, which were all NSDAP organized institutions. Old Reich flags and old model Stahlhelms can also be seen. The German Empire flag was phased out in 1935 in favor of the new Swastika Flag and that was the year the now iconic Stahlhelm model was introduced.
Thus, even by the film’s release, National Socialism had bore some new fruit.
When it comes to semantics, Hitler also says one particular thing that he would later go on to reconsider and reword. When speaking to the Hitler Youth, he speaks of obedience, “Gehorsam” in German, though later he mentions to the SA and the SS the much more important quality of loyalty, “Treue,” and it was this word that made it into the NS glossary. It was most famously seen as part of the SS motto, “Meine Ehre heisst Treue,” or “My Honor is Loyalty.” Obedience is related traditionalism and submissiveness, two traits that feature heavily in the lives of Tanakh adherents, being Jews, Judeo-Christians, and Traditionalist Islamists. Confucian Traditionalism also heavily banks on obedience. Loyalty, on the other hand, is motivated by conscience and can thus be readily applied to notions such as duty, which factor prominently into militarism as well as the original teachings of Jesus, Mohammed and Siddhartha.
Triumph of the Will remains one the most revolutionary films ever made in both technique and content. Hitler’s speeches in the Nuremberg stadium were the first time that a human voice could be heard from space. No leader in the modern human era has shown such ascetic dedication to his duty and certainly no leader has been so charismatic.
Triumph of the Will is also far superior in every aspect from the Marxist screed, Battleship Potemkin, directed by the Jew Sergei Eisenstein and shown in film history classes worldwide. Eisenstein’s film is permeated by a characteristically Jewish defamation and demonization of an ideological and political enemy, the Czar, and it is this negativity that ultimately brings down the film. However, Eisenstein’s film shouldn’t be avoided, it should be watched and right before or after there should be a viewing of Triumph of the Will to plainly see the higher quality and innate positivism of Riefenstahl’s National Socialist film art masterpiece.
“May the bright flame of our enthusiasm never be extinguished. It alone gives the creative art of modern political propaganda its light and warmth.” ~Joseph Goebbels, Triumph of the Will