F.W. Murnau Movies

Tabu is a lyrical documentary of Polynesian life, given added audience appeal with a fictional plotline. The story concerns a young island girl (Anna Chevalier, who like everyone in the cast is a non-professional) who has been consecrated to the gods by her tribespeople. It is thus "tabu" for her to marry; still, she falls in love with a handsome young pearl fisherman (Matahi). The island's holy man takes the girl away in his schooner. Her lover swims after her, but eventually sinks disconsolately into the ocean. Shot completely on location, it was supposed to be a collaboration between German director F. W. Murnau and American documentary producer Robert Flaherty. Flaherty withdrew from the project when he realized the film was taking a romanticized approach. Murnau never lived to see the final product; he was killed in a car accident just before the film's opening. Begun as a silent film in 1929, Tabu was released in that form in 1931, despite the fact that talking pictures already had been established for nearly three years. ~ Hal Erickson, All Movie Guide

The circus provides the backdrop for this melodrama that chronicles the lives of four children raised within the big top. Two of them have grown to be lovers. Though they appear inseparable, trouble ensues when a usurper takes the girl away. The picture is considered a lost work -- no copies are known to have survived. It was nonetheless regarded as an excellent film upon release (hence the 3.5 star rating); a 1928 Variety review proclaimed it "an elegantly produced, photographed, and directed picture by Fox, of high value regular release quality, and missing the super height class only because it is missing any one big kick." ~ Sandra Brennan, All Movie Guide

Considered by many to be the finest silent film ever made by a Hollywood studio, F.W. Murnau's Sunrise represents the art of the wordless cinema at its zenith. Based on the Hermann Sudermann novel A Trip to Tilsit, this "Song of Two Humans" takes place in a colorful farming community, where people from the city regularly take their weekend holidays. Local farmer George O'Brien, happily married to Janet Gaynor, falls under the seductive spell of Margaret Livingston, a temptress from The City. He callously ignores his wife and child and strips his farm of its wealth on behalf of Livingston, but even this fails to satisfy her. One foggy evening, O'Brien meets Livingston at their usual swampland trysting place. She bewitches him with stories about the city -- its jazz, its bright lights, its erotic excitement. Thrilled at the prospect of running off with Livingston, O'Brien stops short: "What about my wife?" Drawing ever closer to her victim, Livingston murmurs "Couldn't she just...drown?" (the subtitle bearing these words then "melts" into nothingness). In his delirium, the husband agrees. The plan is to row Gaynor to the middle of the lake, then capsize the boat. Gaynor will drown, while O'Brien will save himself with some bulrushes that he'd previously hidden in the boat; thus, the murder will look like an accident. The next day, the brooding O'Brien begins slowly rowing his unsuspecting wife across the lake. Halfway to shore, he makes his intentions clear, but is unable to go through with it. As his wife cringes in terror, O'Brien rows to the other side of lake. Once ashore, she runs away from him in terror, as he stumbles after her, trying to apologize.

Gaynor boards a streetcar bound for the city, with O'Brien climbing aboard a few seconds afterward. Upon reaching the city (a renowned set design), O'Brien continues trying to make amends to his wife. They sit disconsolately at a table in a restaurant, unable to eat the plate of cake that is set before them. Slowly, Gaynor begins overcoming her fear. The couple wander into a church, where a wedding is taking place. Breaking down in sobs, O'Brien begins repeating the wedding vows, thereby convincing Gaynor that she has nothing to fear. Together again, the couple embraces in the middle of a busy street, oblivious to the honking horns and irate motorists. Anxious to prove to each other that all is well, the husband and wife spend a delightful afternoon having their pictures taken and "dolling up" in a posh barber shop. They cap their unofficial second honeymoon at a joyous festival in an outsized amusement park. More in love with each other than ever before, O'Brien and Gaynor head back across the lake in the dark of night. Suddenly, a storm arises. Pulling out the bulrushes with which he'd planned to save himself, O'Brien straps them onto Janet, telling her to swim to shore. The storm passes. Washing up on shore, the unconscious O'Brien is brought home. But Gaynor is nowhere to be found, and it is assumed that she has died in the storm. Half-insane, O'Brien strikes out at Livingston, the instigator of the murder plan. Just as he is about to throttle the treacherous temptress, he is summoned home; his wife is alive! As Livingston stumbles out of the village, O'Brien and Gaynor cling tightly to one another, watching the sun rise above their now-happy home. Together with Seventh Heaven, Sunrise earned Janet Gaynor the first-ever Best Actress Academy Award, while Charles Rosher and Karl Struss walked home with the industry's first Best Photography Oscar. The film itself was also in the Oscar race, but lost out to the more financially successful Wings. ~ Hal Erickson, All Movie Guide

F.W. Murnau's German silent classic The Last Laugh (Der Letze Mann) stars Emil Jannings as the doorman of a posh Berlin hotel. Fiercely proud of his job, Jannings comports himself like a general in his resplendent costume, and is treated like royalty by his friends and neighbors. The hotel's insensitive new manager, noting that Jannings seems winded after carrying several heavy pieces of luggage for a patron, decides that the old man is no longer up to his job. The manager demotes Jannings to men's washroom attendant, and the effect is disastrous on the man's prestige and self-esteem. Logically, the film should end on a note of tragedy, but Murnau (either because he was ordered to by the producers or because he just felt like it) adds a near-surrealistic coda, wherein Jannings, having suddenly inherited a fortune, returns to the hotel in triumph. The Last Laugh was a bold experiment for its time: a film told entirely visually, with no subtitles save for the semi-satirical explanation of the climax. In a sense, Karl Freund's camera is as much a "character" as anyone else, commenting upon Jannings' rise and fall via then-revolutionary camera angles, jarring movements and grotesque lens distortions. Many historians credit The Last Laugh as the vanguard of the "German invasion" of Hollywood during the mid- to late-1920s. ~ Hal Erickson, All Movie Guide

Young Steyer (Eugen Klopfer) lives on a remote mountain farm with his parents and his daughter from a previous marriage, Aenne (Lucie Mannheim). Defying his elders, Steyer takes a second wife, Ludmilla (Aud Egede Nissen), not realizing that she is still lovers with the hunter Lauer (Wilhelm Dieterle). Hoping to stay closer to her lover, Ludmilla convinces the family to sell the farm and betroth Aenne to Lauer. They agree and sign a deed of sale for the farm. A snowstorm arises and Ludmilla takes shelter with Lauer in his house. Steyer finds them together and strikes Lauer, causing Ludmilla to faint. When the storm ends, Steyer's marriage is in ruins, and his parents leave the farm, unwilling to live there after it has been sold to a stranger. Note who plays the adulterous Lauer: Wilhelm Dieterle, who as William Dieterle would direct such Hollywood classics of the 1930s and '40s as The Hunchback of Notre Dame and All That Money Can Buy (aka The Devil and Daniel Webster). 23/65 ~ Nicole Gagne, All Movie Guide

F. W. Murnau's landmark vampire film Nosferatu isn't merely a variation on Bram Stoker's Dracula: it's a direct steal, so much so that Stoker's widow went to court, demanding in vain that the Murnau film be suppressed and destroyed. The character names have been changed to protect the guilty (in the original German prints, at least), but devotees of Stoker will have little trouble recognizing their Dracula counterparts. The film begins in the Carpathian mountains, where real estate agent Hutter (Gustav von Wagenheim) has arrived to close a sale with the reclusive Herr Orlok (Max Schreck). Despite the feverish warnings of the local peasants, Hutter insists upon completing his journey to Orlok's sinister castle. While enjoying his host's hospitality, Hutter accidently cuts his finger-whereupon Orlok tips his hand by staring intently at the bloody digit, licking his lips. Hutter catches on that Orlok is no ordinary mortal when he witnesses the vampiric nobleman loading himself into a coffin in preparation for his journey to Bremen. By the time the ship bearing Orlok arrives at its destination, the captain and crew have all been killed-and partially devoured. There follows a wave of mysterious deaths in Bremen, which the local authorities attribute to a plague of some sort. But Ellen, Hutter's wife, knows better. Armed with the knowledge that a vampire will perish upon exposure to the rays of the sun, Ellen offers herself to Orlok, deliberately keeping him "entertained" until sunrise. At the cost of her own life, Ellen ends Orlok's reign of terror once and for all. Rumors still persist that Max Schreck, the actor playing Nosferatu, was actually another, better-known performer in disguise. Whatever the case, Schreck's natural countenance was buried under one of the most repulsive facial makeups in cinema history-one that was copied to even greater effect by Klaus Kinski in Werner Herzog's 1979 remake - Nosferatu the Vampyre. ~ Hal Erickson, All Movie Guide