Documentary

Triumph of the Will (Special Edition)

Triumph of the Will is one of the most important films ever made. Not because it documents evil--more watchable examples are being made today. And not as a historical example of blind propaganda--those (much shorter) movies are merely laughable now. No, Riefenstahl's masterpiece--and it is a masterpiece, politics aside--combines the strengths of documentary and propaganda into a single, overwhelmingly powerful visual force.

Riefenstahl was hired by the Reich to create an eternal record of the 1934 rally at Nuremberg, and that's exactly what she does. You might not become a Nazi after watching her film, but you will understand too clearly how Germany fell under Hitler's spell. The early crowd scenes remind one of nothing so much as Beatles concert footage (if only their fans were so well behaved!).

Like the fascists it monumentalizes, Triumph of the Will overlooks its own weaknesses--at nearly two hours, the speeches tend to drone on, and the repeated visual motifs are a little over-hypnotic, especially for modern viewers. But the occasional iconic vista (banners lining the streets of Nuremberg, Hitler parting a sea of 200,000 party members standing at attention) will electrify anyone into wakefulness. --Grant Balfour

Kinski: My Best Fiend

Most people associate the director Werner Herzog with the actor Klaus Kinski--but few know how twisted and enmeshed their relationship was. Though Kinski has made dozens of movies, he probably remains best known for the five he made with Herzog: Aguirre: The Wrath of God, Woyzeck, Nosferatu the Vampyre, Cobra Verde, and Fitzcarraldo. In this documentary/cinematic memoir, Herzog uses clips from these remarkable films, on-the-set footage, and personal recollections to create a portrait of Kinski as both a deeply passionate actor and a raving lunatic; it's hard to say whether he's defaming Kinski or being generous to this mercurial, erratic actor. There's no question that their relationship is fascinating; after their first movie (Aguirre, probably the best of their collaborations) they both described moments of wanting to kill each other--in fact, both agree that Herzog threatened to shoot Kinski at one point, though they differ on the details. Yet they went on to make four more movies, almost all of them under circumstances that would be difficult for the most serene personalities. My Best Fiend was inspired by Kinski's death, and probably the movie's weakest aspect is that we don't get Kinski's side of their friendship. But even though it's one-sided, it's still a remarkable portrait of two artists who were willing to go to extremes to capture their visions. Any fan of either will find this unique documentary indispensable. --Bret Fetzer

Attila '74 - The Rape of Cyprus

Kino-Eye/ Three Songs Of Lenin

Dziga Vertov, whose renegade approach to cinema is best remembered in the legendary "Man With the Movie Camera" and his series of Kino-Pravda newsreels, demonstrates his mastery of montage in this 1924 feature previously unseen in the United States. "Kino-Eye" (1924, 74 min.) is a fascinating film, not just for its aesthetic beauty and political significance, but for honestly documenting a society fresh from revolution, buoyed by idealism, ready to face the challenges of a difficult future. Also included on this DVD is "Three Songs of Lenin" (1934, 62 min.), Vertov's most personal work and the capstone of his career. The film reveals the Soviet leader as seen through the eyes of the people, represented by three songs. The exhilarating beauty of Vertov's images and the majesty of his filmmaking skills produced a film that The New York Times called "a work of unusual beauty and emotional exaltation."

Not Angels But Angels

Like no film you've ever seen, Not Angels But Angels is a chilling account of fragile youth caught in the grasp of Earth's oldest trade. Prague's economic boom and recently won political freedom have transformed that beautiful city into a new mecca for both Eastern and Western tourists searching for sex. Young men trying to live up to the standards of Western consumerism fall prey to the quick, easy money made from hustling. The young hustlers' disarming frankness and need to talk become the compelling engine that drives the film. They withhold nothing, telling their stories in gruesome and stripped bare detail.

Dragons of the Orient

For martial arts enthusiasts and fans of Jet Li, Yang Ching, and Wang Chun, this historical filmography about the origins of Chinese martial arts, the legendary Shaolin Monastery, and modern kung fu will prove to be an irresistible treat. The documentary is told through two fictional characters, Instructor Wang and Hong Kong sports reporter Ms. Chin Chin, who chance to meet in a park. Ms. Chin Chin is writing a story about the history of martial arts and so Instructor Wang offers to help. Together they visit the Shaolin Monastery and view a weapons demonstration by the monks. Unfortunately, in the translation the different styles are not explained thoroughly, but the scenery is spectacular and so is the history of the monastery. The next stop on the educational journey is the village Tung Yang, where all 2,000 residents practice kung fu every day. Here Instructor Wang and Ms. Chin Chin learn about the hard work required to be a kung fu master. They visit several other martial arts schools and at each school they watch more demonstrations. The fighting styles are fluid and graceful, much like ballet. Unfortunately, the dubbing is poorly translated. This proves to be frustrating, as the correct names for the various fighting techniques observed are not accurately described. However, this documentary is worth seeing, as the viewer can watch all the different styles of kung fu and learn a general history of martial arts in China. Also, Jet Li fans will be happy to discover how their favorite kung fu star learned his art. --Samantha Allen-Storey

Triumph Of The Will

Triumph of the Will is one of the most important films ever made. Not because it documents evil--more watchable examples are being made today. And not as a historical example of blind propaganda--those (much shorter) movies are merely laughable now. No, Riefenstahl's masterpiece--and it is a masterpiece, politics aside--combines the strengths of documentary and propaganda into a single, overwhelmingly powerful visual force.

Riefenstahl was hired by the Reich to create an eternal record of the 1934 rally at Nuremberg, and that's exactly what she does. You might not become a Nazi after watching her film, but you will understand too clearly how Germany fell under Hitler's spell. The early crowd scenes remind one of nothing so much as Beatles concert footage (if only their fans were so well behaved!).

Like the fascists it monumentalizes, Triumph of the Will overlooks its own weaknesses--at nearly two hours, the speeches tend to drone on, and the repeated visual motifs are a little over-hypnotic, especially for modern viewers. But the occasional iconic vista (banners lining the streets of Nuremberg, Hitler parting a sea of 200,000 party members standing at attention) will electrify anyone into wakefulness. --Grant Balfour

Mein Krieg - My Private War

Amateur movies shot with small handheld cameras by six German infantrymen on the Eastern Front during World War II form the core of this documentary. The men who took the movies appear on camera as old men to provide narration (in German, with subtitles), and they provide a perspective not often heard. As might be expected, they distance themselves from atrocities, and as they were foot soldiers in the Wehrmacht, their denials of involvement are probably true. One of the men still owns the camera he carried in the war, and he demonstrates how its small size made it perfect for impromptu filming in the field. Clips of smiling troops on the move is accompanied by an old man talking about how happy they were to be going to an unknown destination, likening it to "the joy one feels when on a journey." It turns out the gleeful trip he recalls was actually the beginning of the invasion of Poland and thus the beginning of the war in Europe. Later footage shows combat conditions in Russia, and the grisly aftermath of vicious combat. The rarity of the film footage, some of which was shot in color, makes this documentary worth watching. But the recollections of the amateur cameramen also provide an unusual insight into the German war machine, such as when one of the old veterans mentions how he eventually realized, "This was no defensive war forced upon us, it was an idiotic war of aggression." --Robert J. McNamara

Shaolin Kung Fu