She was Hitler's favorite film director, a serial seductress and almost certainly ユダヤ人の... now a new 文書の is 始める，決める to 取り組む the コンビナート／複合体 genius who dazzled Mick Jagger with her Nazi magnum opus

• e-mail

A new 文書の 捜し出すs to unravel the mystery of Hitler's favorite film director - who not only a serial seductress but most shocking of all, almost certainly ユダヤ人の.

称讃するd as one of the best directors in history, Helene 'Leni' Riefenstahl died 老年の 101 just over two １０年間s ago after spending more than half her life trying to shed 面s of a checkered 遺産／遺物.?

She is often compared with the likes of Orson 井戸／弁護士席s and Alfred Hitchcock, but was also the Third Reich's silver 審査する propagandist.?

The filmmaker is perhaps best known for her hypnotic depiction of Hitler's 1934 Nuremberg 決起大会／結集させる - reviled as the most powerful piece of 宣伝 on 記録，記録的な／記録する.?Rolling 石／投石するs 前線 man Mick Jagger?was 報道によれば enraptured by her, 見解（をとる）ing her 勝利 of the Will 多重の times.?

She was also even 噂するd to have had a 関係 with Hitler - with the 独裁者 once referring to her as 'the perfect German woman'.?

Now, years after her death, a new 文書の 捜し出すs to 取り組む both her prowess and personality, 延長するing far beyond her haunting magnum opus.?

She was never a member of the Nazi Party, but 与える／捧げるd to the pre-war mythos that propped up Hitler as a deity. And in a 新たな展開 fit for a filmmaker, she was also 報道によれば ユダヤ人の, 追加するing another 層 of mystery to be unraveled at Cannes later this month.?

Scroll 負かす／撃墜する for ビデオ:?

Adolf Hitler's 居住（者） propagandist, Helene 'Leni' Riefenstahl's 団体／死体 of work 大部分は 同時に起こる／一致するd with the Nazi war machine. The pair are seen together during the 1934 filming of ‘勝利 of the Will’, 広範囲にわたって considered to be director's 栄冠を与えるing 業績／成就

Rolling 石／投石するs 前線 man Mick Jagger was 報道によれば の中で those enraptured by the film, 報道によれば telling her during a 1974 会合, seen here, that he had seen it countless times. The director's life is 始める，決める to be scrutinized in a 文書の 公表／放送 at Cannes later this month

Filmmaker Andres Veiel explained this 請け負うing, as 'Riefenstahl' looks to 調査する its namesake's 遺産／遺物.?

'Now as then, Riefenstahl's visual worlds are about 勝利,'?Veiel told?Variety Tuesday, using a word from the late director's 悪名高い film to talk up the 首相.?

'勝利 over 疑問, ambivalence, supposed 証拠不十分 and the imperfect,' he 追加するd, receiving 前例のない 接近 to Riefenstahl's 700-box personal 古記録.

'Thus, looking at the world today, a film about Riefenstahl became an 緊急の necessity for me,' Veiel said.

'[Her] 広範囲にわたる 遺産／遺物,?reinterpreted in the light of her 私的な 広い地所, 申し込む／申し出d the 適切な時期 for a new take...?as we see them on the rise today again.'

And reinterpret he will,?with a 生産／産物 that 牽引するs the line between a sanitized narrative and a 攻撃する，衝突する piece that hones in on the glamorous 人物／姿／数字's 確認するd knowledge of the 政権's 残虐（行為）s - for which she was never 罪人／有罪を宣告するd.

Instead, she went on to live out her days comfortably, with a husband 42 years her junior in a sprawling 広い地所 in Bavaria.

But when Germany 侵略するd Poland in 1939, Riefenstahl was 現在の - as a war 特派員 in the town of Konskie where 30 非軍事のs were 大虐殺d in one of Hitler's litany of war 罪，犯罪s.?

Also mowed 負かす／撃墜する were a bevy of ユダヤ人の 墓／厳粛／彫る／重大な diggers, as the German army moved eastward, leaving 破壊 in its wake.?

Photos show her looking on in horror during the 残虐（行為）, with her later （人命などを）奪う，主張するing?she had 試みる／企てるd to 停止（させる） the 死刑執行 before admonishing Hitler.

Often あられ／賞賛するd as one of the best directors in history, Riefenstahl died 21 years ago at the age of 101 in Germany, after spending half her life trying to shed 面s of her 遺産／遺物

Left:?Riefenstahl in 1940 on the 始める，決める of her movie Tiefland. 権利: Riefenstahl pictured filming a 事業／計画（する） during WWII. Her 1935 film 勝利 of the Will was later dubbed the 'ultimate Nazi 宣伝 movie'

But a few weeks later, she was at Hitler's 'Victory Parade' in Warsaw filming, laying 証言，証人／目撃する to a fully 爆弾d-out city.

The F?hrer's 軍隊s, 一方／合間, trudged on, as did?Riefenstahl's filmmaking - with the decorated director even going as far as to use 集中 犠牲者s as extras.?

Those ユダヤ人の extras were featured in her movie Tiefland (Lowlands) which follows a ダンサー 法廷，裁判所d by two suitors.?

For that 請け負うing , the director 本人自身で selected more than 100 Jews?from the Roma and Sinti （軍の）野営地，陣営s in Austria for a shoot in 1942, before they were 国外追放するd to the 悪名高い Auschwitz-Birkenau, where most were 殺人d.

Riefenstahl was then not able to 解放（する） 'Lowlands' until 1954, 予定 to it 存在 基金d 完全に by the Nazi 政府.

This, of course, was a choice made at Hitler's 命令 - one of several examples of how her Riefenstahl's movies 同時に起こる／一致するd with the Nazi war machine.

Lowlands, however, was not considered 宣伝 - and to her dying day,?Riefenstahl 持続するd?she knew nothing of the Roma and Sinti 犠牲者s’ 国外追放, 主張s that later spurred a 大破壊／大虐殺 否定 訴訟.

Riefenstahl's filmmaking 同時に起こる／一致するd with the German 集団殺戮 of European Jews - with the decorated director even going as far as to use 集中 犠牲者s at Auschwitz-Birkenau (pictured) as extras for a film

But 事前の to that, things were for the most part smooth-sailing for?Riefenstahl - a woman who is 広範囲にわたって remembered as one of the best at her （手先の）技術 関わりなく gender.

Fans 含むd the illustrious Andy Warhol and Francis Ford Coppola, who 設立する inspiration in the filmmaker's innovative technique.

Other admirers 含むd Jodie Foster and 妖精／密着させる Dunaway, gripped by?Riefenstahl's 早い ascent from an actress and ダンサー in the 20s to a director 定期的に compared with the likes of Hitchcock, 井戸／弁護士席s, and Seven Samurai auteur Akira Kurosawa.

Her biggest fan, however, was Hitler.

The murderous tyrant was unaware of her ユダヤ人の 遺産 after she 報道によれば 危険d her life by (1)偽造する／(2)徐々に進むing papers to 隠す that her grandmother was a ポーランドの（人） Jew.

Such certification was needed to work in the German film 産業 in the 1930s, and she is believed to have （人命などを）奪う，主張するd that her ancestor had been an Aryan Protestant.

The 罪／違反 could have easily 令状d the 死刑, but she was able to (1)偽造する／(2)徐々に進む ahead with her career that took her to the 高さs of Hitler's inner circle, 持つ／拘留するing her own in a male-支配するd world that 含むd fearsome 中尉／大尉／警部補s Heinrich Himmler, Joseph Goebbels and Hermann G?（犯罪の）一味.??

Before passing away at the age of 101 in 2003, Riefenstahl (pictured as a young actress) 熱心に 否定するd knowing anything about the Nazi's 計画（する）s to 迫害する the ユダヤ人の people

Her 勝利 des Willens itself is a technical 勝利 - one that still earns 賞賛する today for its editing mastery. A scene from the 批判的に （人命などを）奪う，主張するd 宣伝 piece show 100,000 members Nazis 存在 検査／視察するd by Hitler during the Nazi congress of Nuremberg in 1934

Known in Germany as 勝利 des Willens - and still banned today - the film itself is a technical 勝利 that still earns 賞賛する for its 開拓するing mastery.

It follows?the 年次の Nuremberg 決起大会／結集させるs that were held by the Nazi Party at the time, in a propagandized 描写 of Germany as a 'powerful, 平和的な and tolerant nation'.

Hitler （売買）手数料，委託（する）／委員会／権限d the director for the 生産／産物 本人自身で, after 存在 impressed by her first film?The Blue Light - which 顕著に remov ed the 指名するs of Jews from its credits.

The 1932 noir mystery made a fan out of the?F?hrer, and in Riefenstahl's 1995 memoir, she 解任するd that she too had already become enthralled with Hitler after listening to him speak at a Nazi 決起大会／結集させる.

'I heard his 発言する／表明する: "Fellow Germans,"' she wrote, 井戸／弁護士席 into her 90s after reinventing herself as a feminist icon.

'That very same instant I had an almost apocalyptic 見通し that I was never able to forget.?

'It seemed as if the earth's surface were spreading out before me, like a 半球 that suddenly 分裂（する）s apart in the middle, 噴出するing out an enormous jet of water, so powerful that it touched the sky and shook the earth. I felt 麻ひさせるd.'

Afterwards, she wrote to the Nazi leader about how 'impressed' she was by the speech - asking to 会合，会う in person.

Hitler, ignorant to Riefenstahl' s ユダヤ人の 家系, （売買）手数料，委託（する）／委員会／権限d the director for the 生産／産物 本人自身で, after 存在 impressed by her first film The Blue Light. The pair are seen together in 1937

The 1932 noir mystery made a fan out of the F?hrer, and in Riefenstahl's 1995 memoir, she 報道によれば 解任するd seeing him at an 続いて起こるing Nazi 決起大会／結集させる

The pair proceeded to 攻撃する，衝突する it off - にもかかわらず Riefenstahl 存在 a bit more rough-and-宙返り／暴落する than the typical damsels-in-苦しめる associated with the 20s and 30s.

絶えず …を伴ってd by a harem of good-looking cameramen and actors whom she would mercilessly sleep with without 計画（する）s for a 関係, she soon earned a 評判 as a seductress - one that did not 阻止する the detestable 独裁者.

But to her detractors, who to this day remain 毅然とした?Riefenstahl was aware of his war-time 残虐（行為）s, she was 'as pretty as a swastika.'

She quickly became a confidante of both Hitler and 居住（者） propogandist Goebbels, all while turning down unwanted 提案s of marriage.

She was there filming at the 1936 Olympics in Berlin, after which?Goebbels 需要・要求するd she edit out all the 黒人／ボイコット 競技者s from her film.

That 含むd the event's breakout 星／主役にする in 足緒 Owens, the African-American （短距離で）速く走る人 who famously blew up Hitler's 成果／努力 to portray Aryans as the superior race.

In true directorial fashion, she 棄権するd - again sticking her neck out to 保存する at least some of her artistic 正直さ.

However, in a strange turn that critics later said perhaps 証明するd she wasn't the most reliable of sources, Riefenstahl wrote in her memoir how an American 競技者 she was said to be sleeping during the games ripped open her blouse and kissed her breasts after winning a メダル.

'I heard his 発言する／表明する: "Fellow Germans,"' she wrote, 井戸／弁護士席 into her 90s after reinventing herself as a feminist icon. 'That very same instant I had an almost apocalyptic 見通し that I was never able to forget.' She is seen directing her film Olympia at the 悪名高い 1936 Olympics in Berlin

Riefenstahl is seen directing the making of a photographic 記録，記録的な／記録する of the オリンピック紀（４年間） here, as Hitler,?German 宣伝 大臣 Joseph Goebbels, and other high-最高位の members of the Third Reich 命令（する） attention

絶えず …を伴ってd by a harem of good-looking cameramen and actors whom she would mercilessly sleep with without 計画（する）s for a 関係, she soon earned a 評判 as a seductress - one that did not 阻止する the detestable 独裁者

He was, however, seemingly swayed by her looks - 報道によれば once 述べるing her as the 'perfect German woman'

She quickly became a confidante of both Hitler and 居住（者） propogandist Goebbels, all while turning 負かす／撃墜する unwanted 提案s of marriage.

No other 新聞記者／雑誌記者s 報告（する）／憶測d on the 申し立てられた／疑わしい occurrence, which, if 合法的, was 行方不明になるd by the thousands in 出席.?

She went on to （手先の）技術 多重の films that mesmerized both Hitler and the greater German public, 含むing the Nazi-glorifying '勝利 of the Will' and 'Day of Freedom: Our Army.'

In 'Olympia' - a film that followed the Hitler-組織するd オリンピック in Berlin -??she 開拓するd several moviemaking techniques still used today.?

Those 革新s 含むd getting cameramen to wear uniforms to blend in with the SS and SA 軍隊／機動隊s she choreographed, and the use of roller-skates to 得る smoother 跡をつけるing 発射s.

In 勝利 of Will, camera angles that 現在のd Hitler from not only from below but above were also used to paint him as a larger-than-life 人物／姿／数字, all as?Riefenstahl rose above the （人が）群がる with her Parvo 動議 picture camera in a 特に 建設するd cage.

Likely the first moving 空中の 発射 not 安全な・保証するd from a 計画（する）, it was one of the many techniques used by the director considered to be ahead of its time.?

Her techniques used during the Berlin Olympics were perhaps even more pronounced than the 決起大会／結集させる two years before, and much of which is still used in sports ニュース報道 today.?

ざん壕s were dug と一緒に the 走り幅跳び 炭坑，オーケストラ席 so that cameras could follow 競技者s' trajectory on dollies, while underwater cameras for introduced for the first time in the swimming 競争s - a vantage not even 申し込む／申し出d to 観客s on-場所／位置.

In 1938, she （人命などを）奪う，主張するd Jews were not 存在 killed by the Nazi Party's Sturmabteilung and Schutzstaffel 議会の 軍隊s on German streets - an 主張 later 証明するd 誤った

Riefenstahl pictured behind-the-scenes on 始める，決める in the 1930's. A 膝 傷害 in the 1924 劇的な altered the course of Riefenstahl's life and 奮起させるd her to become an actress and director

This all happened as Riefenstahl 持続するd a の近くに 関係 with Hitler, banking on this closeness as she 達成するd 普及した success

Hitler checking 計画（する）s for the 来たるべき parades on the 地形 of the Nuremberg 決起大会／結集させる. At 権利: Riefenstahl, who was （売買）手数料，委託（する）／委員会／権限d - and paid - to shoot the 公式の／役人 film

Riefenstahl 会合，会うs with Adolf Hitler and Dr. Goebbels on April 29, 1938. Her Nazi 宣伝 films and 勝利 of the Will, were received 温かく by the pair

Riefenstahl was never 罪人／有罪を宣告するd of 存在 associated with the Nazis - and went as far as to concoct a secret を取り引きする 輸送 Films and 政府 公式の／役人s to still receive 王族s from her Nazi-paid 事業／計画（する）s

Around this time, Riefenstahl said she felt no need for 'atonement' for her time working for Hitler's Third Reich, and vigorously 告訴するd people in その後の １０年間s when they （人命などを）奪う，主張するd she had been a Nazi

For 飛び込み sequences, she again took advantage of backwards （映画の）フィート数 - this time to make divers look like 急襲するing birds.

So subtle was the use, many テレビ視聴者s did not realize they were watching divers rising up from the water .?

Moreover, the film's 開始 scene, where an 古代の Greek sculpture 'comes alive' and swings his discus in slow 動議, is one of the most imitated of all time.??

To 達成する the fluid 動議, Riefenstahl superimposed （映画の）フィート数 of a flesh-and-血 競技者 - a precursor to the 動議-逮捕（する） 科学（工学）技術 that would become popular some eighty years later.

Former Fox News exec?Roger Ailes, a 逮捕する often credited with 操るing the 網状組織's ニュース報道 of Donald Trump during the 大統領，／社長's 2015 （選挙などの）運動をする, was yet another 人物／姿／数字 影響（力）d by??Riefenstahl's techniques.

While working as a political 顧問 on Richard Nixon's also successful （選挙などの）運動をする in the 60s, he used 策略 taken from 勝利 des Willen to 確実にする a 勝利，勝つ, he later said.

This all happened as?Riefenstahl 持続するd a の近くに 関係 with Hitler, banking on this closeness as she 達成するd 普及した success.

一方／合間, Jews were 存在 killed by the Nazi Party's Sturmabteilung and Schutzstaffel 議会の 軍隊s on German streets - occurrences that happened as 早期に as November 1938.

Riefenstahl (far 権利) is seen 存在 現在のd the Italian award for best film for Olympia in 1938, from Edda, Countess Ciano (far left), the daughter of Italian 独裁者 Benito Mussolini. Goebbels is seen between the pair

A period of 静かな 継続している 15 or so years （機の）カム after the war, after which the now 高齢化 filmmaker experienced a 復帰 spurred in part by the 賞賛する she received from Hollywood 人物／姿／数字s (pictured?after the 首相 of her Olympia film in Paris in 1938)

The German director sits on a 盗品故買者 at a dude ranch 近づく Santa Barbara during one of her many visits to the US, where she was 簡潔に 拘留するd after WWII before 存在 branded 'a Nazi Sympathizer'

One event in particular, which happened from November 9 to 10 of that year, saw Nazis - along with members of the Hitler 青年 and several German 非軍事のs - ruthlessly?たいまつ synagogues, and vandalize ユダヤ人の homes, and 商売／仕事s.

の近くに to 100 Jews were killed, and days later, during a 小旅行する of meant to 促進する 'Olympia' in the US, Riefenstahl told members of the American 圧力（をかける） that 報告（する）／憶測s of the now-proven attacks were 不確かの.

She was 敏速に blacklisted by most Hollywood studios.

After the war, she was never 罪人／有罪を宣告するd of 存在 associated with the Nazis - and went as far as to concoct a secret を取り引きする 輸送 Films and German 政府 公式の／役人s to still receive 王族s from her Nazi-paid 事業／計画（する）s, which cost millions to produce.

Around this time, Riefenstahl said she felt no need for 'atonement' for her time working for Hitler, and?vigorously 告訴するd people in その後の １０年間s when they （人命などを）奪う，主張するd she had been a Nazi.

However, a period of 静かな 継続している 15 or so years （機の）カム first, after which the now 高齢化 filmmaker experienced a 復帰 spurred in part by the 賞賛する she received from Hollywood 人物／姿／数字s.

This?含むd a stint photographing the 1972 Olympics, this time held in Munich, and a 一連の interviews in which she 繰り返して distanced herself f rom Hitler.

She also met up with Jagger and wife Bianca in London in 1974, after 存在 sought by the Satisfaction singer 特に.

Never 罪人／有罪を宣告するd of a 罪，犯罪, Riefenstahl 記録，記録的な／記録するd a 劇の 復帰 into the art world in the 60s, when she moved to Nuba in Sudan by herself. She went on to 解放（する） a photography 調書をとる／予約する called The Last of Nuba which was met with 批判的な acclaim

This 含むd a stint photographing the 1972 Olympics, this time held in Munich, and a 一連の interviews in which she 繰り返して distanced herself from Hitler (at Garmish ski 訴える手段／行楽地,?Bavaria, in 1954)

The director dancing with a guest at the 1955 Film Ball held at Berlin's 流行の／上流の Hotel Esplanade

報道によれば fascinated by the techniques use to captivate the 集まりs in 勝利 of Will, he enlisted her to photograph him and his spouse for The Sun day Times - so 毅然とした to make the 会合 happen that he 報道によれば gave the 出版（物） an 最終提案 to make it so.

'Mick was not at all what I 推定する／予想するd,' Riefenstahl wrote afterwards of the sex symbol, 結局 会合 up with the rocker again in New York.?

'He was 明確に intelligent and 極度の慎重さを要する; within a short time we were 吸収するd in a conversation that grew more and more 激しい.'?

にもかかわらず her 評判 as a man-eater, Riefenstahl would marry twice - once to a fellow German filmmaker すぐに after the war for only two years, and again in her Golden Years.

The second marriage, made in her nineties, saw her 結婚する a groom 42 years her junior, German cinematographer Horst Kettner, now 72.

The pair were still 結婚する when?Riefenstahl died in 2003 in Bavaria, where her 広範囲にわたる 古記録 remained untouched in her house on the banks of Lake Starnberg in P?cking until the new 文書の's director Veiel, who is also German, got his 手渡すs on it.

Some 700 事例／患者s, countless unseen photographs, and several letters and film rolls dating 支援する to the 1920s （機の）カム 含むd - much of which is 均衡を保った to be 明かすd at Cannes on May 14.?

The 復帰 saw her make a return to the Olympics in 1974, this time in Munich, to take photos?

にもかかわらず her 評判 as a man-eater, Riefenstahl would marry twice - once to a fellow German filmmaker すぐに after the war for only two years, and again in her Golden Years (pictured at the Munich Games in 1972)

In the 70s, Riefenstahl began a 関係 with a man who was 以前 her カメラマン, who was only 20 when they first became romantically 伴う／関わるd (pictured: Munich, 1972)

In her 1993 文書の - now 始める，決める to be (a)手の込んだ／(v)詳述するd on this month thanks to a trove of unreleased 文書s - she slammed the stranglehold her old fan had on her country (pictured in Munich in 1972)

After WWII, Riefenstahl was 報道によれば 拘留するd by the 同盟（する）s b riefly, but was （疑いを）晴らすd twice for 存在 a Nazi. Instead, American and French 軍隊s みなすd her a 'Nazi sympathizer'.?

She went on to 解放（する） a photography 調書をとる／予約する called The Last of Nuba which was met with 批判的な acclaim, after moving to Sudan for several years in 70s.

It was during this period that Riefenstahl began a 関係 with Kettner, 以前 her カメラマン, who was only 20 when they first became romantically 伴う／関わるd.

On her 100th birthday, the Frankfurt 検察官，検事's office opened an 調査 into （人命などを）奪う，主張するs Riefenstahl was a 大破壊／大虐殺-denier, though the 事例／患者 was quickly dropped すぐに after 予定 to 欠如（する） of 証拠.

'No anti-Semitic word has ever crossed my lips,' Riefenstahl told filmmaker Ray Muller a few years before, remaining 反抗的な against such.

'I have thrown no 原子の 爆弾s. I have never betrayed anyone. What am I 有罪の of?'

一方／合間, in 栄誉（を受ける） of her century,?Riefenstahl received a 星／主役にする studded birthday bash …に出席するd by the likes of Siegfried and Roy, both of whom became friends with the seasoned cinematographer during the latter half of her life.

DECEMBER-MAY: にもかかわらず her 評判 as a man-eater, Riefenstahl would marry twice - once to a fellow German filmmaker after the war for only two years, and again in her Golden Years. She is seen here in 1992 with second husband?Horst Kettner - who was 40 years her junior

On her 100th birthday, Frankfurt 検察官，検事's office opened an 調査 into （人命などを）奪う，主張するs Riefenstahl was a 大破壊／大虐殺-denier, though the 事例／患者 was quickly dropped すぐに after 予定 to 欠如（する） of 証拠 (pictured with Siegfried and Roy on her 100th birthday in Munich in 2002)

In 栄誉（を受ける） of her century, Riefenstahl received a 星／主役にする studded birthday bash …に出席するd by the likes of Siegfried and Roy, both of whom, like Jagger, became friends with the seasoned cinematographer during the latter half of her life (pictured with the performers at a hotel in Feldafing 近づく Munich in 2002)

No anti-Semitic word has ever crossed my lips,' Riefenstahl told filmmaker Ray Muller a few years before, remaining 反抗的な against such （人命などを）奪う，主張するs

Former Fox News exec Roger Ailes, a 逮捕する often credited with 操るing the 網状組織's ニュース報道 of Donald Trump during the 大統領，／社長's 2015 （選挙などの）運動をする, was yet another 人物／姿／数字 影響（力）d by Riefenstahl's techniques, using them to help get Richard Nixon elected in the 60s when he was the 結局の 大統領，／社長's political 顧問

'I have thrown no 原子の 爆弾s. I have never betrayed anyone. What am I 有罪の of?' she said at the time (a portrait taken in 1999)

She would go on to die two years later - with a March 1944 diary 入ること／参加（者） later 明らかにする／漏らすing her reaction after seeing Hitler for the last time before his 自殺 as the ロシアの Army の近くにd in (her funeral 儀式 in Munich, 2003)

She wrote the 独裁者 'still had the same magical （一定の）期間' as the first time she'd seen him speak more than a １０年間 before, にもかかわらず his 拒絶する／低下するing health, and （人命などを）奪う，主張するd she only discovered the 十分な horrors of the 大破壊／大虐殺 and the Nazi 政権 に引き続いて the end of WWII in 1945

'I've never 回復するd from the horror,' she wrote - as a new 文書の 公表／放送 at Cannes this month is 始める，決める to 供給する even more insight about her somewhat shrouded life and 遺産／遺物 (German actress Uschi Glas 手渡すs her flowers at her 100th birthday party in Munich)

She would go on to die two years later - with a March 1944 diary 入ること／参加（者） later 明らかにする／漏らすing her reaction after seeing Hitler for the last time before his 自殺 as the ロシアの Army の近くにd in.

She wrote the 独裁者 'still had the same magical （一定の）期間' as the first time she'd seen hi m speak more than a １０年間 before, にもかかわらず his 拒絶する／低下するing health, and?（人命などを）奪う，主張するd she only discovered the 十分な horrors of the 大破壊／大虐殺 and the Nazi 政権 に引き続いて the end of WWII in 1945.

In her 1993 文書の - now 始める，決める to be (a)手の込んだ／(v)詳述するd on by?Veiel - she slammed the stranglehold her old fan had on her country.

'I was just appalled and 混乱させるd to have lived through that period,' she wrote.

'I've never 回復するd from the horror.'