Directors: F.W. MURNAU

"Is this your wife? What a lovely throat."

NOSFERATU, EINE SYMPHONIE DES GRAUENS (1922)

Director: F.W. Murnau
Country: Germany
Genre: Horror
Length: 94 minutes



Cinema giant F.W. Murnau directed, in 1922, one of the most passionate, expressionistic and symbolic stories of romance that have ever conquered the screen... with a horror twist. Nosferatu, eine Symphonie des Grauens belongs to any list of the top horror films ever made in the history of the motion picture. Its power, glory, dedication and visual style, characteristics that directly belong to the cinematic movement called German Expressionism, are unprecedented talents that put its name in a constantly referenced form of cinematic expression thanks to the poetically literary boundaries this film imposed in the art of filmmaking, boundaries that had never been established before. That is the main source of its audacity and ambition, signs of the work of a genius that attempted to create one of the scariest and darkest tales of its time. Following the tradition of the already mentioned German Expressionism, the film ventures into the vast and deep realm of the human mind and deals with the dangerous inner demons that tend to haunt the soul. This time, this demon is real. This time, it is depicted as a breathing being. During this process, Murnau unbelievably perfects the direction style and technical ambition that Robert Wiene's eternal masterpiece Das Cabinet des Dr. Caligari. (1920) possessed. This film and its influence will last for an eternity, highlighting the art of the movie making process and strengthening the bizarre and paranoid journey the premise of the film originally attempted to offer.

Nosferatu, eine Symphonie des Grauens is based on the story of Dracula and focuses on the character of Count Orlok, a vampire who is believed to have brought the plague to Bremen around the year of 1838 and who has recently shown interest in a residence located in Transylvania. Much to the newlyweds' sadness and discomfort, Hutter is forced to leave her wife Ellen for a wife since he is hired by his employer to arrange the Count's purchase of the aforementioned house. When the Count finds out about the beauty of her newlywed, he attacks Hutter and immediately moves into the house across from the Hutters'. Will Hutter be able to arrive soon to save her beloved fiancée, or will she be subject to a bizarre passion and to a terrible fate?

F.W. Murnau's approach to both the genre and the plot results in an authentic and memorable symphony of horror. It gently reaches the mysterious realm where reality and the dream world collide, performing a beautiful orchestra concert. It also may be called as a precursor of the film-noir genre since the film demanded a visually captivating and effective use of a creepy mix of light and darkness, the darkness that separated Count Orlok and his macabre environment from a German society that supposedly was meant to represent a helpless, agnostic and degraded flock of possible victims. Horror is depicted in the scariest and darkest way possible, bringing along the arguably scariest scenes ever filmed. Although the film has been subject to several tinted versions throughout its worldwide editions and release dates, its auteur signature has caused to keep its original psychological horror and its iconic images.

The typical theatrical performances are still present in the film. Deviating from the elegant, discreet and stereotypically handsome Hollywood portrayal of the character Dracula, immediately causing the audience to remind the performance of Bela Lugosi in Tod Browning's 1931 version, Max Schreck is the vampire Count Orlok. He became a cinema icon that has established a numerously referenced character. Murnau attempted and achieve to show Dracula in its scariest and most unpleasant form, giving him an unforgettably disgusting physical appearance, an appearance highlighted by its effective makeup and custom design that would cause to positively aggravate the horror involved in the story. His mere presence imposes an authoritarian terror to the screen. Murnau also divided both the feature film and the human mind into layers, taking the strength of the human relationships, love, passion, evil, obsession and heroism. Latterly, he put together both types of layers like pieces of a jigsaw puzzle. These pieces were combined with a surreal and noticeably religious perspective, but not necessarily adapting a specific religion in particular. It lets the aesthetics of this gorgeous piece of art to flow smoothly and to discreetly play the role. The environment has the modest function of enlightening these emotions, a fact that would obviously coincide with a necessary climatic ending sequence that resorted to the most famous myths of vampires. The castle, the necks, a pair of long, hungry teeth, the crosses, the solitude and darkness of the night and the illuminating sunlight gently entering through a window with a view of the city until reaching a fervent heat and color are present elements that allowed the pace of the film to reach a marvelous level of amazement.

Naturally, it may not scare as it used to do. However, some audiences may feel particularly surprised after witnessing the level of brilliance and cinematic originality it reached because of its own merits. The modern archetype of the vampire figure has been inevitably degraded to a shocking degree, portraying the elegant antagonist in a monstrous form, from Francis Ford Coppola's Dracula (1992) to the mindless Underworld (2003) franchise. Nosferatu, eine Nosferatu, eine Symphonie des Grauens is a reminder of the magical originality that was originated from the correct and accurate adaptation by F.W. Murnau and writer Henrik Galeen of Bram Stoker's novel, a gorgeous sample of literary poetry at its purest form. Ultimately, it is one of the strongest candidates for the best film ever made and quite possible the best silent film of German Expressionism. Before reaching new heights through the direction and unprecedented ambition of Fritz Lang (Metropolis [1927], Frau im Mond [1929]) regarding the science-fiction genre, Nosferatu, eine Symphonie des Grauens is a deliciously satisfying experience full of talents that make it a morbid view towards the beauty of life and the obsession of disproportionate human emotions, carrying along tragic consequences, those typical of a Greek tale. It is horror in its purest and most fascinating depiction, not to mention a feast for the senses and a distorted portrayal of grim reality.

100/100

Review coming someday...

100/100

Faust - Eine deutsche Volkssage (1926)

Director: F.W. Murnau
Country: Germany
Genre: Fantasy / Horror
Length: 116 minutes



F.W. Murnau is officially one of the greatest filmmakers of all time and is one of the directors that majestically created and popularized the horror genre in German filmmaking just after the films Des Student von Prag (1913), Das Cabinet des Dr. Caligari (1919) and Nosferatu, eine Symphonie des Grauens (1922) were created, giving birth to the beautiful and extraordinarily artistic German Expressionism. Murnau directed this astonishingly unique feast to the senses just after he had incredible cinematographic success with one of the greatest dramas ever made: Der Letzte Mann (1924).

Faust - Eine deutsche Volkssage (1926) has a very simple story, which starts to become very complex at some point. It tells the story of the war between God and Satan for ruling over Earth, so both decide to wager on the soul of an alchemist named Faust. After Faust burns his books out of desperation and disappointment for being unable to stop death during a plague, Satan sends Mephisto to tempt Faust in many ways, including an insight into treating the plague and giving him one day of youth.

Many unbelievable events take place in this movie but the most outstanding aspects of the film are its visual style and its direction. I never imagined that a horror film of the 20's would be so daring and religiously controversial at actually showing physical forms of God and Satan in the first 10 minutes of the film. I was speechless. I sort of disagree with that kind of decision, but yet again the visual style of the representations of Good vs. Evil is unparalleled. The cinematography is also spectacular and I have to accept the fact that some special effects achieved to create particularly scary imagery and sequences, which is certainly awesome and lives up to the genre of horror.

The acting was decent, and who else could brilliantly portray the character of Mephisto if not Emil Jannings, one of the most respected and recognized actors in classic silent cinema? The character of Faust is the living representation of the struggle that even non-religious people have to face everyday. Life in the actuality consists of constant decisions, most of them involving a particular moral degree. He also represents what the heart desires, like physical youth in a failed and unsuccessful old alchemist, and love, and how the mind can rule over our emotions in a cruel way. It is true that emotions should not govern over reason, but our conscience constantly tries to act as a benign mediator according to some decisions made by our mind, and that is where ethics come to play. That's why Faust is a very complete and interesing character. The pace of the film is fantastic and the film will keep you guessing constantly what will the ending will be like. Can Good really triumph over Evil? This film is a brilliant essay on faith and religion. Whether you believe in God and Satan, Heaven and Hell or not, this silent masterpiece will blow you away in any different ways. Topics like temptation, love, life and death are also trated. This film has everything a cinema critic coul ever hope for.

Faust - Eine deutsche Volkssage (1926) has definitely passed the test of time and keeps leaving several critics of several generations totally amazed, and so was I. Although this is not Murnau's best film in my opinion, it is definitely for several people I know, who prefer it even over Nosferatu, eine Symphonie des Grauens (1922). The musical score was pretty decent as well and the camera work is exquisite. This is a filmmaking succesful achievement in both cinematographic and technical aspects. A gem not to be missed and a giant German treasure, Faust - Eine deutsche Volkssage (1926) is a feast for the senses and a spectacle to watch, not mentioning a masterpiece in its genre, which should be really amazing if seen on a big screen with a live orchestra.

96/100

"For wherever the sun rises and sets, in the city's turmoil or under the open sky on the farm, life is much the same; sometimes bitter, sometimes sweet."

SUNRISE: A SONG OF TWO HUMANS (1927)

Director: F.W. Murnau
Country: United States of America
Genre: Drama / Romance / Crime
Length: 95 minutes



F.W. Murnau's Sunrise: A Song of Two Humans is officially one of the best productions Hollywood ever did during the Golden Age. After establishing his brilliant and visionary reputation through the horror genre, creating timeless and unsurpassable masterpieces such as Nosferatu, eine Symphonie des Grauens (1922) and Faust - Eine deutsche Volkssage (1926), he moved to America and tried with a totally different genre. He succeeded. In fact, he had so much success, that Sunrise: A Song of Two Humans won a unique Academy Award. It is one of the best romantic stories ever told in cinema history and one of the most complete films that may ever be seen. It immediately relies its talent, honesty and emotional power on the most beloved, accessible and heartwarming genres of cinema. This project was probably the one that worldwide masses, especially Germany, were expecting to fail. However, Murnau proved to be a multitalented auteur of legendary proportions and transmits, in 94 minutes, extraordinarily compelling emotions that romance films cannot transmit even nowadays in their purest form. It is definitely, a timeless masterpiece and among the director's best.

Sunrise: A Song of Two Humans deals with a married farmer who soon enough falls for another woman of the city. She convinces him to come to the city with her, but since he asked her if her wife could come with them, the woman suggests him to murder her wife drowning her. He is shocked by her suggestion, but finally goes along with the idea. The rest of the plot is developed thanks to the farmer's consequent decisions. The film received 4 Academy Award nominations for Best Art Direction, Best Actress in a Leading Role, Best Cinematography and Best Picture, Unique Artistic Production, winning the last three awards. This was the very first and last feature film to be nominated and win the last Oscar because of its artistic value and quality. Wings (1927) won the Oscar for Best Picture, Production that year.

Sunrise: A Song of Two Humans resorts to that irrevocable connection established by human relationships and the everlasting and enduring power of love. Murnau was one of the few filmmakers that understood that cinema is the work of a whole crew. The camera work and the resulting cinematography is an outstanding achievement. Every image is filmed with extreme delicacy, like a moving painting, like the literary pages of a passionate poet. Whereas early directors like D.W. Griffith (Birth of a Nation [1915], Intolerance: Love's Struggle Throughout the Ages [1916]) and Sergei M. Eisenstein (Bronenosets Potyomkin [1925], Oktyabr [1928]) focused on the magical importance of editing and crosscutting, Murnau made emphasis on the visual style that a camera can transmit and the psychology of the characters, inspirationally orchestrating noticeably long takes just to highlight a particular emotion. Therefore, "The Man" and "The Wife" are very complete characters deviating from clichéd archetypes of recent newlyweds. That is what makes this film a very well-made character study, especially for the male protagonist. This is one of the very first films that feature personalities with constant changes of emotions, and the priorities and motivations of "The Man" are very clear to the spectator. He has an epiphany, which will wonderfully lead the rest of the story along with powerful and necessary reflections. The performances were so natural that the whole atmospheric romance throughout the tear-inducing 94 minutes seemed like a documentary and both symbolize justice being served in the most correct way concerning how our prioritized plans can be suddenly changed by an outside factor.

Evil is ultimately represented in a very peculiar way. The person that can be interpreted as the antagonist ends up being a human being as well with particular personal issues. The antagonist could be also fate, or the nature itself, which physically cannot be beaten after all, but confronted. That is a genius concept, but the original intention of the power such concept is supposed to have is a very hard characteristic to portray on screen. Both George O'Brien and Janet Gaynor are extraordinary, and they have perhaps the most powerful couple chemistry in any romantic film that has ever been directed, quite possibly even redefining the term of love in films. It is particularly interesting how Murnau makes a notable difference between the mood and atmosphere of the farm and the city, the last one being represented as crowded streets full of stores, noise and movement. Industrialization and consumerism are, therefore, an influential motor for the couple's rebirth of a love that was about to be lost because of wrongly taken decisions. The pace of the story is quickly effective, and the result was the perfect mix of drama and some humorous moments of comedy that, at the end, are utterly impossible to forget.

This is visually and emotionally one of the most beautiful films ever made. Although it was made by a German master of cinema, this is the kind of films Hollywood should be really proud of. It became an immediate addition for the USA National Film Preservation Board. This is a very artistic and unique triumph and literally transports you back to the 20's, transmitting a very powerful catharsis in a genius and highly effective way. After all, it is up to us to let the sun rise on the horizon. It is up to us to accept one of the most wonderful and extraordinary gifts God decided to give us in this pathetic, existentialist and rotten existence: love. Heaven and Hell collide in a tormenting concert of emotions; nature plays its role, resulting in possibly the tensest sequence of Sunrise: A Song of Two Humans. Two humans realize the inevitable connection they were meant to have, latterly singing to the sky and uniting in heartwarming depictions of love and interest. Character development enriches the flavor of the film and, yet, the movie does not need to show anything more. The dance scene, the attack of Mother Nature, the traffic accident, a kiss... just mere events that were meant to take place for inner correction and to avoid the corruptibility of the soul. It will make rivers of tears to flow, compensating such audience reaction with a very satisfactory sense of hope at the end, not to mention that beautiful and characteristic feeling of inner warmth.

100/100