From the earliest accounts of Leni Riefenstahl’s career, it is clear that she was prepared to use others to benefit herself. She had become acquainted with a young Jewish banker, Harry Sokal, in 1923. Riefenstahl acknowledged his wealth and while she had no desire to satisfy his ongoing matrimonial pursuit continued their relationship. Riefenstahl used Sokal to finance her dance debut where he paid for the hall, the advertising, and the musicians. In an attempt to gain positive reviews, Sokal also paid critics to be in the audience. For Riefenstahl it may not have been a difficult decision to exploit Sokal and other men, as opportunities for women were limited.