The Relay of Fire Ignited by the Nazis (Courtesy: Leni Riefenstahl)
If you want to know how the Olympic torch really began its “Journey of Harmony,” as the Chinese call its current relay, if you want to see why the torch has had to pass through a human obstacle course composed of protesters, SWAT teams and police in San Francisco, Paris and London, then do not look to Tibet’s grievances against China. Look to the opening of Leni Riefenstahl’s 1938 film, “Olympia.”
In that homage to Berlin’s 1936 Olympic Games the origins of this ritual are revealed. Never before had a lighted torch been relayed from a Greek temple in Olympia to an athletic competition, let alone by thousands of runners trying to keep it from being extinguished.
So Riefenstahl creates the myth the Greeks never got around to telling, creating a filmic counterpart to the opening of Wagner’s “Ring,” in which an entire world gradually emerges from elemental fragments. The camera begins by surveying a misty landscape of ruins, of shattered pillars and overgrown grasses. Restless and circling, the camera reveals a Greek temple standing amid the stones. Heads and the bodies of Greek statues appear in an eerie erotic landscape. Under the sensuous caresses of Riefenstahl’s lens, a naked discus thrower comes to life, polished stone becoming muscular flesh. Another athlete prepares to throw a javelin, its trajectory leading toward a bowl of fire. Lighting the Olympic torch, another nude acolyte triumphantly raises it aloft like Wagner’s Siegfried displaying his sword....
Read entire article at Edward Rothstein in the NYT
In that homage to Berlin’s 1936 Olympic Games the origins of this ritual are revealed. Never before had a lighted torch been relayed from a Greek temple in Olympia to an athletic competition, let alone by thousands of runners trying to keep it from being extinguished.
So Riefenstahl creates the myth the Greeks never got around to telling, creating a filmic counterpart to the opening of Wagner’s “Ring,” in which an entire world gradually emerges from elemental fragments. The camera begins by surveying a misty landscape of ruins, of shattered pillars and overgrown grasses. Restless and circling, the camera reveals a Greek temple standing amid the stones. Heads and the bodies of Greek statues appear in an eerie erotic landscape. Under the sensuous caresses of Riefenstahl’s lens, a naked discus thrower comes to life, polished stone becoming muscular flesh. Another athlete prepares to throw a javelin, its trajectory leading toward a bowl of fire. Lighting the Olympic torch, another nude acolyte triumphantly raises it aloft like Wagner’s Siegfried displaying his sword....