Following up the revolutionary Triumph of the Will from 1935, which showcased the ideals of National Socialist society and celebration, Leni Riefenstahl followed up with an equally uplifting film displaying an epic patchwork of athleticism and human beauty, Olympia.
Folk, not Nation
The first part of this film is often approximately translated into English as “The Festival of Nations,” however retaining the world “Folk” is key here, since while it may have meant “nation” before in German, Hitler had used the word with a clearly different and radically new connotation that was freed from the previous left/right or liberal/conservative paradigm. Throughout his writing, Hitler routinely used the term “folk” to describe many groups of people, from the Italian Folk led by Mussolini whom Hitler largely appreciated to the American Folk under Roosevelt whom Hitler genuinely despised. The term “Folk” was also never made synonymous by Hitler with “Nordic,” which was a racial term that Hitler acknowledged made up a significant portion of the German Folk, though not all of it.
“Nordic” was but one racial kernel in the German Folk patchwork of several neighboring, and in some cases, more geographically distant races.
This essentially debunks the common ridiculing notion that “an Aryan is as blonde as Hitler, as tall as Goebbels and as slender as Goering” or some other crude satire. The point is that “Aryan” is a mythical root race to whom Hitler was attempting to steer a return to and it should be no surprise that after centuries and even millennia of diffusion that most of the overt idealized traits were mostly missing from the masses of any country at the time. The first step in Aryanization is ideology and this was the first step on National Socialism – give the masses a new way of thinking about who they are and what they can become. Riefenstahl’s film about the 1936 Berlin Olympics is a perfect place to showcase that since the games have always put quality over quantity and many of the classic sports disciplines are militarist in spirit.
Note that the Olympic Salute resembles the Roman Salute that was adopted by the NSDAP. Additionally, and perhaps most importantly, this film is a brilliant display of NSDAP positivism with a collage of athletes from all over filmed in a way to underscore the grace of their form and discipline with not one word about Jews, thus a viewing of this film, as with Triumph of the Will, demolishes the myths about a supposedly hate filled Third Reich. The various Folks enter in individual groups within a parade to start the film and then dancers with flags do a routine to end the film: thus cooperation in militarist and athletic disciplines brings people together. Also, military officers in the splendid Third Reich uniforms are seen as part of the Germany delegation on entry.
A Message in Images
Being a documentary, Olympia has no storyline, and on top of that, there is even less dialog and overt symbolism than in Triumph of the Will, however the film does have a message and it is conveyed purely in its images and sounds, which are some of the most beautiful renditions of athletic prowess ever made with groundbreaking techniques for their time that invented the entire genre of sport photography. Not since the statues of Ancient Greece has human beauty been shown in such a complete and absorbing way, demonstrating grace and precision along side strength and power. Athletes can be vividly seen to throw, run, jump, spin and glide through the air as Riefenstahl’s camera captures key moments in slow motion to accentuate the discipline and technique of each competitor. This use of various frame rates is especially effective for the jump-based events and there are many of them throughout the film. The quality over quantity message is made clear with the film showing the final stage of each event, meaning the best of the best are shown attaining their highest achievement.
During the start of the marathon the announcer says, “56 runners are fighting with all their might for their honor and the victory of their country” (1:41:12) and this sequence then contains, among others, a shot of dark skinned athletes chiseled musculature (01:47:19). Something that could have been easily not even filmed, let alone edited into the final cut of the film if there was any intention in conveying an ode to white supremacy as NSDAP propaganda is wrongfully interpreted today as. In fact, the message of National Socialism is aptly summed up in a description of the Finnish marathon team when the announcer says, “three runners, one country, one will” (1:43:52) as the athletes run together as part of a team pacing strategy. This is a very Folk-sounding choice of words and precisely why the image and overlaying commentary made it into the film. Also notice, that Finns, a northern European ethnic group is not praised for being “white.”
After the mens pole vault final goes for much longer than expected, Meadows from team USA wins and is shown shaking hands with Nishida from team Japan, the second placed vaulter (01:33:08). And so, athleticism trumps ethnic differences.
A landmark that can be seen as the film opens is the Olympic Torch Relay sequence shown over a map of Europe with the Torch traveling from Athens to Hitler’s Berlin. The Olympic Torch itself was an antique feature re-introduced at the 1928 Amsterdam Olympiad, however the Olympic Torch Relay was a unique idea of National Socialist Germany appearing for the first time at 1936 Berlin Olympiad. The idea of passing on a torch in relay is the symbol of passing on idealism from one able hand to the next who can take it ever further. This journey of idealism symbolized by the glowing torch takes a coordinated effort and perfectly encapsulates the spirit of a Folk striving for higher goals.
“Catholicism, Protestantism, Jewry and Naturalism must be cleared from the field before beginning a new world outlook, so that they are no longer thought of, just as the night lamp is no longer thought of when the morning sun shines over the mountains.” ~Alfred Rosenberg
A Nation is group of people with a common past.
A Folk is a group of people with a common future.
Forward thinking. Positivism. Quality over Quanity.
Mythbusters: The Third Reich
The most interesting aspect of this film is how it totally disproves the mainstream notions of the Third Reich and hence is not shown, unlike the “personal stories” of hundred and thousands of interested parties is. Zionists, being Jews and their dogged Gentiles, insist that Hitler’s Germany was the blueprint for a terror-based racist police state. Neo-Nazis don’t quite go that far, but they mainly affirm the Zionist myth while merely thinking it was a good thing, thus fall under the aforementioned “Gentile” category by being useful idiots to the tribal ringleaders of Zionism.
The Allegation – The Third Reich was the most racist state ever.
“That’s bad,” say Willful Zionists while Useful Idiots say, “that’s good.”
That’s the false paradigm of Zionist Correctness.
Yet, if Olympia was sanctioned by the supposedly most racist government in the supposedly most white supremacist country ever, then why is this man given the most close ups?
Jesse Owens is the most praised athlete in Olympia who is given the most individual screen time and always with accompanying positive commentary. The US anthem plays as he receives medals for his victories. At one point in the film (01:13:04) African-American fans are shown seated in non-segregated seating.
Just before this scene, an African-American athlete won the men’s high jump event and the stadium announcer says, “the jumpers from America win” referring to their citizenship not their race. At one point (01:35:15) a German team is even shown making a fatal blunder, thus if this film were about German or European supremacy, a moment such as this would not have been included. There are a few mentions of “white race” though never implying superiority and in line with parlance of the 1930s. The first mention of anything that can be interpreted as white supremacy is when the announcer calls Godfrey Brown of the UK “the fastest white man in the world” (01:38:56) before a sprint final. In fact, the first mention of racial or ethnic differences is right before a sprint event where the announcer says, “Two black runners against the strongest of the white race” (52:04) and in the ensuing event, an African-American athlete is seen to win.
On top of that, Jesse Owens stood by his story that he was not snubbed Hitler, but actually shook hands with him. He also felt better treated in Germany than in his own home country that essentially had him in perpetual subject (not citizen) status, though that same country used his own athletic talents to boast about itself and then went on to a definite political alignment with Zionism.
Olympia was a key part of the Third Reich’s propaganda of its ideals. It was sanctioned, financed, and approved by the NSDAP. Given their authoritative positions, Hitler and Goebbels must have each personally approved of the film for it to be released. They also had the authority to recall it, which they didn’t do despite having previously exercised that very authority on a film, The Victory of Hope (Der Sieg des Glaubens), due a former NSDAP member, Ernst Röhm, being found out as a traitor. Thus, we see that in true militarist form, the NSDAP was more preoccupied with the ideal of loyalty, not skin color, in its propaganda.
“Under close scrutiny, the division into races according to the color of skin turns out to be quite the crudest and most obvious method, since there are noticeably inheritable characteristic racial differences among people of identically colored skins.” ~Alfred Rosenberg
Now think: Why are competitors of ethnicities other than European ones shown winning in the film? Would neo-Nazis include this film in one of their gatherings? What would they think of shots such as the one in which a dark-skinned athlete’s musculature is shown during the concluding marathon event? If this film was supposed to be used for exalting only the Europeans why was this image included? In fact, why are so many images of non-Europeans showing athletic prowess of non-Europeans included with positive commentary in a film funded by a supposedly “white supremacist” government? Why are there no attempts to directly praise any race, white or otherwise?
The answer is simple: the Third Reich’s ideas concerning race theory and also their actual practice was different than what the current establishment teaches.
Additionally, why are Olympia and Triumph of the Will not prominently shown or studied, while neo-Nazi garbage like the National Alliance sanctioned video game “Ethnic Cleansing” and William Pierce’s pulp fiction, “The Turner Diaries” and “Hunter” are upheld as the standard of “Nazi Propaganda?”
The answer is also simple: Zionists, being Jews and their dogged Gentiles, do not fear neo-Nazism, since neo-Nazis may despise Jews, but they adopt their methods and thus YHWH the demiurge also lives in them. However, Zionists and neo-Nazis (Zionism’s useful idiots) do fear authentic National Socialism and thus do all to distort, muffle, and silence its actual incarnations.
There is an image from the Third Reich’s propaganda that seems to suggest “black is bad, white is good” and that’s the poster for Rassenschande (“Race Shame”). Yet, the image is drawn and black figure is clearly a caricatured Jew with the “black” being an old symbol from Western literary trends and not a particular skin color. The Orcs in The Lord of the Rings are associated with black and the popular film adaptations showed them with dark skin, yet the books and films were barely considered racist and, in fact, they’re not. Though, they do remain fairly Euro-centric in viewpoint as author J.R.R. Tolkien lived and worked in Europe for the better part of his life. There’s also the “dark side” of the Force in Star Wars, which is hardly a racist concept. Thus, the “dark” Jew in the Rassenschande poster is just being associated with the symbolism that suits the NSDAP’s message. In contrast, “white” (really “orange” given the poster’s color scheme) is the opposite symbol signifying purity, just think of traditional Western bridal gowns and images of heavenly angels.
“All propaganda must be presented in a popular form and must fix its intellectual level so as not to be above the heads of the least intellectual of those to whom it is directed. Thus its purely intellectual level will have to be that of the lowest mental common denominator among the public it is desired to reach.” ~Adolf Hitler, Mein Kampf
However, this simplification is a double edged sword. It’s easier to make people believe in a superficial fad than have them listen to and comprehend a sincere and rational explanation or an elaborate and skilled motion picture. Yet, with film releases such as Olympia, the NSDAP can be said to have tried and break this mold and also offer something well above blunt sensationalism, in fact it can so far as to be considered beautiful that holds up to this day, as sports photography has remained popular ever since its first epic display by Leni Riefenstahl’s famous Olympic film.
On the other hand, the vast majority of propaganda directed against the Third Reich, namely “Holocaust Literature,” is made up of diaries, personal stories and accounts, tear-provoking fictionalizations and/or re-enactments and the like, which are praised and beloved for the emotions they stir, but it’s all a liaison of morbid sensationalism and self-serving speculation that’s certainly created quite the fad.
All the while scientific studies of the concentration camps by individuals such as Carlo Mattogno and Germar Rudolf, which focus on the technical aspects of the camps by consulting original documents, photographs and refer to chemistry, physics and rational explanation to what was possible there are denounced as heresy and “denial” of things that should be “self-evident.” The same goes for studies on the social aspects of the Third Reich that a viewing of Olympia, among other interesting primary source studies, can bring to a sober perspective that the mainstream sensationalisms have sought to keep obscured.
This is all very reminiscent of Lysenkoism in the USSR, where research was selective, sponsored by a clique in power with all those who disagreed (most notably scientists from the Mendelian school of thought) being sent to the gulags or executed.
In understanding the Jew, this current reality of blurred truth and garish lies may be disheartening, though it should not come as a surprise, since the archetype of the Jew is the herder/pastoralist. The Jew’s very method of being demands a manipulation of goyim be they flocks of sheep to be bred and slaughtered or non-Jewish peoples to de duped and slaughtered in wars fought for the interests of Zionism – the herding technique may be much more sophisticated in the latter, though at its core, it remains the same. Thus, useful idiot Neo-Nazis are duped by a “Hitler fad” and march around displaying Swastikas, SS Bolts along side their inbred idiocy and Jews are not afraid of them. They tacitly encourage these groups and largely live off of their perceived threat and so sites such as Stormfront and The Daily Stormer operate without much problem being the pasture for White Nationalism. Sites such as Vigilant Citizen, InfoWars and David Icke’s forum are like are the pastures for those who sense something is wrong, though still lack that extra step that Hitler took. This idea was conveyed well on the Game Theory Channel on YouTube: The Red Pill gives the illusion of escape.
However, paradigm-shifting revisionists who consult primary, and often still not translated, sources are kept hazy and vague by the media, which includes internet servers. First hand accounts of the Third Reich’s message, being films such as Olympia and Triumph of the Will are held shadowed by the politically correct (and Zionist Correct) academic establishment. The reason being is that Jews are afraid of authentic National Socialism since it goes completely against their convictions in an unprecedentedly effective way.
Pathos is the manipulation of emotions to prove one’s point and Jews excel in this trait. They had to in order to survive within a state structure and do so to this day. Where Jews are a minority, they throw upon the non-Jews of the state their myths and sensationalisms and where they are dominant they ensure that their children are adequately scarred to follow their path to carry on their recurring fabrications.
One of the simplest examples of Jewish Pathos is the Zionist description of Amalek, a sworn enemy of Judaism, who has been vilified as blood sucker and war monger ever since. Hitler has been associated with Amalek, yet this is pathos and a hallmark of tribalism by convincing yourself and others that your tribe is the best or has been “chosen” by a higher power. In this regard, Jews and ethnic nationalists are identical as they promote and spout endless tales of the suffering, real or exaggerated, caused unto them by others.
Another, more recent example of Jewish Pathos are the reactions to one possible bit of “anti-semitism” in the film Act of Valor in which a terrorist financier is depicted as Jewish, though this only comes up in passing dialog in one scene, yet the Jew Debbie Schlussel thought this merited comparing the film to the propaganda of Joseph Goebbels and decrying it as evil in one of her typically rabid rants. Has she even seen Olympia or Triumph of the Will, which are films that don’t even mention Jews, thus according to her own logic these legendary NSDAP films are less “anti-semitic” than Act of Valor! The joke is on her.
“The Jew is immunized against all dangers: one may call him a scoundrel, parasite, swindler, profiteer; it all runs off him like water off a raincoat. But call him a Jew and you will be astonished at how he recoils, how injured he is, how he suddenly shrinks back: ‘I’ve been found out!’” ~Joseph Goebbels
These same Jews, of course, raised hardly any concern over the entire Iranian people being portrayed as beasts in the Jewish produced film 300. Nonetheless, the Jew Susan Sontag managed to provide some Jewish Pathos by saying that the film would please “Adolf’s boys” thus keeping the confines of Zionist Correctness by disregarding true NSDAP propaganda like Olympia.
One more thing about Jewish Pathos, here is one Zionist response to the 1936 Berlin Olympiad:
By 1937, the Jewish screeching and wailing, diplomatic obstructionism and manipulation, sensationalism and hyperbole, was well underway.
A final question to ask: were there racists in the Third Reich, perhaps even within influential positions? Yes. However, the key thing to realize is that Hitler was not one of them. Neither was Goebbels. Hitler and Goebbels were so far beyond the petty squabbles of the masses that it’s no wonder so many were enthralled by them, yet so few truly heeded their words and emulated their actions. The fact that Hitler ordered the creation of multi-ethnic, non-segregated Waffen SS units – soldiers from various places united under one banner – was unprecedented at the time. Napoleon’s Grande Armée only had Europeans, which was apt enough for Napoleon’s simple goal of a Franco-centric European order, however the organization of the Waffen SS was clearly much more demanding and profound – entire masses of non-Jews united against Jewry and its proxies.
That sounds a lot like Amalek, indeed.
“To be modern only means to fill new forms with eternal truths.”
Lastly, two Jewish athletes from the USA’s team were stopped by their own team’s administration from competing in the 1936 Berlin Olympiad. The official Zionist explanation is that this was done to not embarrass Hitler should they win, which sounds a lot like typical Jewish self-serving speculation. Whatever the reason, their exclusion was very appropriate as the “anti-Folk” has no place in an event called the Festival of the Folks. Jews were never even central in the ideas of National Socialism anyway, yet they themselves have arrogantly made much of the world believe just that.
“Defending against the Jewish danger is only part of our plan. When it becomes the only issue when National Socialism is discussed, that is Jewry’s fault, not ours.” ~Joseph Goebbels