”As far as things that interest me...I've heard some good fun stuff about Sex is Zero. Besides that, if you could maybe aim some stuff at me of the style that I normally DON'T review (well, except outright erotica, as I just can't appreciate that), I'd actually like to expand my horizons a little, and get a fresh challenge.”

That's what I sent back to the Head Vampire when he put out his latest list of screeners for review. What can I say? Working for this site for as many years as I have (how long has it been, Lawrence?), one tends to get a little stale with all of the same-old same-old that seems to come down the pipe. I was looking for one of those movies the likes of which I had never experienced...the kind of film that would give me lots of fresh thoughts to put out there. I wanted a challenge.

Be careful what you wish for.

How does one review a propaganda film? More specifically, how does one review a propaganda film promoting arguably the most hated group in human history? My best bet was to watch it as objectively as possible, looking past the Nazi themes and any emotions that watching such horrible human beings promoting their cause.

People always wonder how Germany could have possibly followed the Nazi party, who turned Germany into a monstrous war machine like no other. It's disturbingly simple: what other option did they have? After being left in economic shambles by the Treaty of Versailles, the N.S.D.A.P. (that's the Nazi party to you and me) offered them hope, promising a proud new Germany. This was, of course, all before the perverted plan that was Heinrich Himmler's “Final Solution.” This is when the German populace were simply following the machinations of a socialist party.

Of no small influence, to be certain, is Leni Riefenstahl's Triumph of the Will. Throughout WWII, the film was shown in every theater in Germany, continuously spreading its oddly positive message of German patriotism even as the Nazis blazed their way across Europe. Given unlimited funds by the Nazis, Riefenstahl created one of the most beautifully shot and disturbingly manipulative films ever made. It's not an account of madness: not once do Hitler and his men mention anything of which they would become infamous. There are no mentions of concentration camps, of the ethnic cleansing that they would later attempt. At most, they make sly references to those who were “harming” the country without fully pointing fingers and naming names.

Of course, the vision is truly realized by Riefenstahl's clever editing. Scenes of Hitler addressing the teeming masses are mostly faked: elaborate sets were constructed for Der Fuhrer to deliver his speeches, which would then be cut in with footage of the throngs of Nazi supporters chanting “Sieg heil” in adoration. For those unfamiliar with Hitler's infamous addresses, they are truly a sight to see. His delivery is passionate and convincing, if not a little maniacal. Seeing the tiny man's impeccably groomed hair come flying loose as he bellows his almost dogmatic beliefs is far too memorable. These scenes of passionate speaking are coupled with almost overwhelming lengths of film in which the iconic, almost Romanesque nature of the Nazis are put up on proud display. Swastika-emblazoned flags billow majestically, superimposed over the goose-stepping legions of the SS and the Hitler youth. Majestic music blares as the teeming masses (including a disturbing number of smiling children) show their support. Most chilling of all is a scene in which Hitler's motorcade stops so that he can accept a bouquet of flowers from a young girl. This is pure manipulation of the viewer, and one can truly see how it worked.

This film is certainly a piece of great historical importance, and Synapse has treated it as such. The windowboxed transfer, which is a little narrower than your traditional 1.33:1, holds up remarkably well despite its extreme age. While there is a definite presence of damage, dirt, and grain, the restoration is far beyond what one would expect. Contrast held up pretty well, even as the black levels fluctuated wildly, creating a flickering effect. Audio is about as clear as can be expected, sounding flat and hollow, but still nicely restored and enhanced without becoming too “digitized.” Extras include another short film by Riefenstahl entitled Day of Freedom and an insightful audio commentary by historian Dr. Anthony Santoro.

Despite its dubious nature, Triumph of the Will is one of those movies that certainly deserves a look, simply for historical reasons. It's certainly not popcorn fare, but a chilling account of humanity at one of its weakest moments. I tip my hat to Synapse for releasing it in such an objective and tasteful fashion.