By Filmmuseum Berlin--Deutsche Kinemathek, Eva Wesemann

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Extra resources for Film Museum Berlin: The Exhibition

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MAN (1932). Dieterle was so successful in Hollywood, first as an actor and later as a director, that he could repay the huge debts which had made leaving Germany so easy for him. He remained in the USA during the Second World War, although it was now as an exile, and only rerurned to Germany at the end of the 1940s. It's hard to imagine that someone like Luis Trenker might have made his way to America. An actor, director and produ­ cer specializing in regionally-flavored Heimat and mountain films, he arrived in New York in 1932.

B o t h rhe Olympic bell which hangs in rhe rower and rhe bowl with the Olympic Flame bear the inscription "Sacrificed for the Peopl e " , thus equating athletic competition to the s truggles of war and the death of sold iers. The sacred quota­ tion implies, so to speak, that both ath letes and soldiers fi nd i m m ortal ity. Leni R iefensrahl repeatedly used both the sacri­ OLYMPIA Leni Riefenstohl Germony 1 938 Shooting breok Wolter Frentz (lying down), Leni Riefenstohl ficial bowl and the bell rower as backd rops i n her fi l m .

Yer with songs such as " lch b i n vom Kopf b i s fuss auf Liebe e i ngestellt" and " Ich bin d i e fesche Lola", Marlen e became i m m o rtal, so t o speak . Props from the film late r ci rculated like d evotional objects . The 1/ clllgbty DER BlAUE ENGEl Josef von Sternberg Germany 1 930 Naughty lolo lolo cord Prop Lola Lola (ctrcl was particularly popular: i n the film r h e sch o olboys puff at its attached s k i rr w steal f(Jrbi dden gli m pses. D E I\ B LA U E E N G I'L i s based on Heinr ich Man n ' s n ovel " Professor U n rat" and tells the story of a school teacher, aga i n d e p icted by E m il Jan n i ngs, who falls in love with a cab­ aret s i nger, Lola Lola.

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