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City of Toys

City of Toys (2024, 39mins) combines Alan Marcus’ 2001 interview with legendary filmmaker Leni Riefenstahl with an exploration of centuries of antisemitism. As she recalls of her iconic 1935 documentary, Triumph of the Will, on the annual Nuremberg Nazi Party Rally almost seventy years later: “I had no ideals. I only did my duty. It was a commission I carried out.” Beyond its notoriety in 20th century history, Nuremberg was also known as one of the toymaking capitals of the world and until the Nazi era many of its major toymakers were Jewish. Nuremberg still hosts the world’s largest trade toy fair. The film subtly intertwines narratives on Adolf Hitler and Riefenstahl’s representation of the Nazi movement with Nuremberg’s historical bedrock of antisemitism and the role of its Jewish toymakers. As film historian Robert Rosenstone has written of Marcus’ work, “I would call it a kind of poetic history that may in fact deny the possibility of history at all.”

Top Cast

  • Leni Riefenstahl

    Leni Riefenstahl

    Self (archive footage)

  • Adolf Hitler

    Adolf Hitler

    Self (archive footage)

  • Viktor Lutze

    Viktor Lutze

    Self (archive footage)

  • Julius Streicher

    Julius Streicher

    Self (archive footage)

Overview

City of Toys (2024, 39mins) combines Alan Marcus’ 2001 interview with legendary filmmaker Leni Riefenstahl with an exploration of centuries of antisemitism. As she recalls of her iconic 1935 documentary, Triumph of the Will, on the annual Nuremberg Nazi Party Rally almost seventy years later: “I had no ideals. I only did my duty. It was a commission I carried out.” Beyond its notoriety in 20th century history, Nuremberg was also known as one of the toymaking capitals of the world and until the Nazi era many of its major toymakers were Jewish. Nuremberg still hosts the world’s largest trade toy fair. The film subtly intertwines narratives on Adolf Hitler and Riefenstahl’s representation of the Nazi movement with Nuremberg’s historical bedrock of antisemitism and the role of its Jewish toymakers. As film historian Robert Rosenstone has written of Marcus’ work, “I would call it a kind of poetic history that may in fact deny the possibility of history at all.”

Rating

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