stylistic:tone, structural:expansion
Reception

Triumph of the Will was approved by the censors on 26 March 1935, and premiered on 28 March at the Berlin Ufa Palace Theater. Within two months the film had earned 815,000 Reichsmark (equivalent to 4 million 2021 euros), and Ufa considered it one of the three most profitable films of that year. Hitler praised the film as being an "incomparable glorification of the power and beauty of our Movement." For her efforts, Riefenstahl was rewarded with the German Film Prize (Deutscher Filmpreis), a gold medal at the 1935 Venice Biennale, and the Grand Prix at the 1937 World Exhibition in Paris. However, there were few claims that the film would result in a mass influx of " converts " to fascism and the Nazis apparently did not make a serious effort to promote the film outside of Germany. Film historian Richard Taylor also said that Triumph of the Will was not generally used for propaganda purposes inside Nazi Germany. The Independent wrote in 2003: " Triumph of the Will seduced many wise men and women, persuaded them to admire rather than to despise, and undoubtedly won the Nazis friends and allies all over the world."

The reception in other countries was not always as enthusiastic. British documentarian Paul Rotha called it tedious, while others were repelled by its pro-Nazi sentiments. During World War II, Frank Capra helped to create a direct response, through the film series called Why We Fight, a series of newsreels commissioned by the United States government that spliced in footage from Triumph of the Will, but recontextualized it so that it promoted the cause of the Allies instead. Capra later remarked that Triumph of the Will "fired no gun, dropped no bombs. But as a psychological weapon aimed at destroying the will to resist, it was just as lethal." Clips from Triumph of the Will were also used in an Allied propaganda short called General Adolph Takes Over, set to the British dance tune " The Lambeth Walk ". The legions of marching soldiers, as well as Hitler giving his Nazi salute, were made to look like wind-up dolls, dancing to the music. The Danish resistance used to take over cinemas and force the projectionist to show Swinging the Lambeth Walk (as it was also known); Erik Barrow has said: "The extraordinary risks were apparently felt justified by a moment of savage anti-Hitler ridicule." Also during World War II, the poet Dylan Thomas wrote a screenplay for and narrated These Are The Men, a propaganda piece using Triumph of the Will footage to discredit Nazi leadership.

One of the best ways to gauge the response to Triumph of the Will was the instant and lasting international fame it gave Riefenstahl. The Economist said it "sealed her reputation as the greatest female filmmaker of the 20th century." For a director who made eight films, only two of which received significant coverage outside of Germany, Riefenstahl had unusually high name recognition for the remainder of her life, most of it stemming from Triumph of the Will. However, her career was also permanently damaged by this association. After the war, Riefenstahl was imprisoned by the Allies for four years for allegedly being a Nazi sympathizer and was permanently blacklisted by the film industry. When she died in 2003—sixty-eight years after the film's premiere—her obituary received significant coverage in many major publications, including the Associated Press, The Wall Street Journal, The New York Times, and The Guardian, most of which reaffirmed the importance of Triumph of the Will.