Arthur Housman, Bodil Rosing, Eddie Boland

The visually breathtaking story of a country man torn between his wife and a seductress is one of the great achievements of the silent era.

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94% liked it

6,789 ratings

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36 critics

Unrated, 1 hr. 35 min.

Directed by: F.W. Murnau

Release Date: September 23, 1927

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DVD Release Date: December 9, 2008

Stats: 592 reviews

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Flixster Reviews (592)


  • November 22, 2008
    the age old story of the evil city woman lol. the film is really quite stunning. it starts off full of dread but continues through humor and pathos very artfully. the city scenes are priceless. definitely one of the best silent films i've watched
  • July 17, 2008
    The greatest silent film I have ever seen. Such poetic and dreamy images, graceful camera movements, and bold montages distill the film with its archetypal characters into a purely emotional experience. 3epkano's (Zerkalo in Russian) score adds an otherworldly aura to the film....( read more) It feels classical yet modern at the same time. Hands down the most amazing movie going experience I've ever had.
  • April 30, 2008
    The part I found most interesting was when the couple goes to the city. Seeing the train ride, the city life, and the rural man and woman's unease with the ways of the city is such a rare view into the past. Very romantic story as well.
  • April 20, 2008
    The reason for the creation of best picture. romance is real, according to this.
  • March 24, 2008
    "sunrise" is german classic director murnau's masterpiece, and inevitably it's tinted with the contagious visuality of berlin expressionism to convey the protagonists' drastic moods which is laying bare the introvert in the extrovertly perceptive manners.

    the story is about a ...( read more)married farmer's purgatory journey to re-seek his primary love for his chaste wife after indulging in the illicit affair with a urbanite flapper who sinfully coaxes him into drowning his spouse.

    due to the thick aesthetism permeating in this flick, it transcends beyond its potential moralistic content with the doctrine of marital fidelity, perhaps also partially related to the male madonna/whore complex which is a compartmentalizing dualism of female categorization. his wife is made typically innocent and enduringly virtuous, and his mistress is depicted as the ruthlessly amoral siren who attempts to obtain everything by any means.

    the photography is dreamy in excellent craftmanship, such as the overlayered shot which surrounds the man with two embracing kisses as well as the floral pasture of lovers wandering happily in the field. of course, the gimmick of accidental smacker shot is heart-warmingly pleasant.

    "sunrise" delineates love in a mostly childlike aroma, paying its hommage to the patriachal ideal without pretentiousness, also a pleasure of sheer purity, blossoming in marnau's uniquely descriptive camera angles.
  • November 9, 2009
    Not the greatest silent film but it deserves all other credit for its visually beautiful look and the making of the old adultery theme more captivating.
  • November 3, 2009
    F. W. Murnau's Sunrise: A Song of Two Humans (often referred to as just Sunrise) is generally referred to as one of the greatest silent films ever made. The film is about a guy whose mistress convinces him to drown his wife and make it look like an accident. The man is about to t...( read more)hrow his wife off a boat but suddenly decides he loves her. His wife freaks out that her husband was going to kill her and when they get to shore in the city she tries to run away. Amazingly, she forgives him rather quickly and they become very much in love and have a wonderful evening on the town. While rowing the boat back across the lake to get home, there is a terrible storm and the boat capsizes. The man gets back to shore and thinks his wife is dead. His mistress is thrilled thinking their plan worked perfect but he is furious at her and tries to choke her to death. While doing this, his wife's body is found and he runs to see if she is alive or dead. The film ends with the man and his wife laying together in bed as the sun rises.

    Stylistically, this film is Murnau's attempt to bring German expressionism to an American film. The film has all kinds of enormous sets that create an exaggerated, fairy-tale-like world. Unlike films such as The Cabinet of Dr. Caligari, the sets in this film come off as fairly plausible. The film also has some fairly long tracking shots and makes ample use of forced focus. It is also worth noting that there were very few intertitles in this film. Apparently Murnau used very few intertiles in his films and once made a film with just one. The film is also one of the first films to have sound on the film rather than have an orchestra play.

    Today, this film is very well-received. In the most recent critics poll by Sight and Sound Magazine, this film is tied with The Battleship Potemkin as the greatest silent film ever made and the seventh greatest film of any sort. The film won two or three Oscars depending on how you count (Janet Gaynor won best actress but in the first year of the Academy Awards, actors were judged on all films they appeared in that year - 3 in Gaynor's case). While I can appreciate certain aspects of this film, I found the plot less interesting than The Battleship Potemkin and I don't think the expressionistic style was as well-done as in other films such as The Cabinet of Dr. Caligari. This is certainly one of the more important silent films ever made, but I don't think this film has much to offer for the typical viewer today.

    70/100
    C-
  • October 21, 2009
    "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...( read more) States of America
    Genre: Drama / Romance / Crime
    Length: 95 minutes

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    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
  • October 16, 2009
    I loved it! And it was the first movie to win best actress ever! She deserves it- she was nominated twice that year! Plus while subtle good, its really only that, subtle good. But still good (Did any of that make sense?). Either way the few actors are great! And say what you want...( read more) about the story, I loved it! First it was drama, then a comedy, then a drama. Sure it was see through, but who cares! The film looks wonderful and is so sophisticated for that time (it also deserved the Oscars won for that). And the soundtrack is wonderful- quite 'Mad Men'! All in all I was throughly enjoyed!
  • October 5, 2009
    Not to be confused with RISING SUN, as this one is significantly lacking in Snipes.

Critic Reviews


January 20, 2006
Roger Ebert, Chicago Sun-Times

F.W. Murnau's Sunrise (1928) conquered time and gravity with a freedom that was startling to its first audiences. To see it today is to be astonished by the boldness of its visual experimentation. full review

View more Sunrise: A Song of Two Humans reviews at RottenTomatoes.com

Comments


  • Maic0
    February 8, 2008
    "Sunsrise of the silent film." - Peter Bogdanovich

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