Sonnenaufgang

Before the movie starts properly, Sunrise professes that life is sometimes bitter and sometimes sweet, and that is exactly what this film is; a bittersweet symphony of life and love. Flamboyant German director, F.W. Murnau directs this film with a great love and precision, his direction in the movie is flawless. Sunrise features very little story cards, and it almost totally told with just visuals and music. This is a testament to Murnau's talent for storytelling; to portray a story without dialogue is something that all silent films have to do, but to tell a story without many story cards either is something that many directors would struggle to do. The music in Sunrise is simply sublime; it fits what's going on in the film to a tee, and also succeeds in making the visuals' power more potent. Sunrise is a groundbreaking film, some of the techniques used by Murnau to tell his story are amazing, especially for the time. Techniques such as his use of flashback have had a major impact on cinema as a whole.

And the film isn't just a technical marvel either; there is more than enough substance here. The plot isn't massively substantial, but it's the subtext that is important. It follows the story of a man who, tempted by a woman from the city, gets talked into murdering his wife. Him and his wife used to be madly in love, described by their maid as 'being like children', but the love has since stagnated and so the man is easily taken in by an offer from a beautiful to move to the city. However, when it comes to doing the act; he can't do, and so the film moves into following the two falling back into love. Like life itself, the film is never plain sailing and that seems to be it's central message, along with the fact that love is more powerful than anything that life can throw at you. And those are welcome messages in any film, especially one as brilliant as this.

Overall, Sunrise is a masterpiece. It easily ranks as one of the best, and most important silent films ever made and it is as brilliantly technically as it is on the substance front. A must see for all fans of cinema.

I am not a big fan of domestic melodramas but I have to give some credit to this one. Some shots in this movie would be difficult to film even today.

The movie uses two women - one from the city and the rural wife - to expose the man's internal feelings. The city woman portrays corruption and modernity while the rural wife is quite opposite - she's virtuous with good intentions and portrays purity. Throughout the process, the city is shown to corrupt the marriage between the man and his wife and then serves to renew and even mature their relationship. As the man spends time with the city woman, he becomes corrupted and zombie-like but when he spends time with his wife in the city, their love is renewed with positive change as their relationship blossoms again.

The two of my favorite scenes got to be the first boat ride when the man attempts to murder his wife, and when the man walks out with his wife out of the chapel where a tracking shot follows the couple as their walk through the city and several film layers. The boat ride seemed really peaceful, even with the cruel intentions behind it, and you can only admire the camerawork here. The shot, when they walk out the chapel is so romantic - the city is moving around them and they don't even notice. They only notice the presence of each other. Both of these scenes are visually fascinating and the production like that it rarely met in films today.

This is one of the few movies that fully deserves all the raves that it gets. Some movies are artistic masterpieces more to be admired than enjoyed, leaving the viewer feeling a little distant; other movies can be enjoyable and satisfying to watch, but with obvious artistic defects. "Sunrise" is a nearly perfect movie that is impressive in every detail, and it is also a joy to watch, offering moments of suspense and tension and other moments of humor and humanity.

The story provides a very thoughtful look at the importance and the fragile nature of human relationships. Janet Gaynor is wonderful as the wife - she is always believable, endearing, and completely sympathetic. George O'Brien is also good as the husband, and both of their performances are enhanced by director Murnau's use of their body language. There are also many minor touches in the settings and action that help guide the story and the mood, and it is all complemented by some fine camera work. The first time you watch the film, your attention is fixed on the leading couple, as you hope against hope that things will work out all right for them. Repeated viewings reveal many of the other fine details that make everything work so well.

The movie also has plenty of variety and a masterful structure. The first part and the last part are tense and full of suspense, but they sandwich a very enjoyable series of lighter vignettes in the middle, which make a perfect complement both to the story and to the tone of the movie.

It is very difficult these days to track down this movie, which is a real shame, and even when you do find it you generally have to make do with a rather fuzzy or defective print. But it is well worth the trouble, and "Sunrise" is highly recommended to any silent film fan or to anyone who can appreciate a movie made the way that movies ought to be made. It is not only one of the great masterpieces of the silent era, but is as good a film as any made since.

While some film critics disagreed in the late fifties, giving the nod to Murnau's equally brilliant "Last Laugh," this in my view is the crowning achievement of the German genius. Many polls rank it as the greatest silent film ever made and many rank it very high on the all time list of great movies.

The plot is melodramatic, the acting in places heavy handed, and the action seemingly non-existent, at least in the eyes of the "Terminator 3" generation,yet "Sunrise" is so captivating a film that it can be watched over and over again and deliver the same punch every time. In fact, like the other greats,including "Citizen Kane," you can probably get something new out of "Sunrise" every time you watch it, no matter how many times you watch.

Murnau takes barren sets and dark, hallow rooms and turns them into treasure troves of lighting and nuance. He creates something as simple as a railway depot or a big traffic intersection and makes it a story all by itself.

"Sunrise" stands today as one of the most visually fascinating films ever made. Murnau's cinematographers, Charles Rosher and Karl Struss, got an Oscar for their work and surely deserved it. Janet Gaynor won the Best Actress award for her body of work that also included "Seventh Heaven" and also richly deserved the prize. Her face expresses her inner emotions so perfectly that some of her scenes are achingly beautiful.

And the film itself received an academy award for "Most unique and artistic production," an award never given out again, maybe because no picture could live up to the standard set by "Sunrise."

The new DVD version being marketed on the quiet by Fox is marvelous, with a wonderfully restored print that seems just as bright today as it must have in late 1927 when the film was released. The DVD includes an interesting commentary option by cinematographer John Baily and no film is better suited for this, since it tells its story brilliantly with pictures alone, so the commentary option is not a distraction.

One of the great tragedies of the cinema in my view is that few people alive today have seen "Sunrise." They have no idea what they are missing.

This one ranks among the five best films ever made.

There are plenty of reasons for film buffs to watch 'Sunrise'. One is if they love, or at least appreciate, FW Murnau and his films and recognise their importance, that's applicable to me. Two is if they love, or again at least appreciate, silent films, have seen some fantastic silent films myself. Three is if one is interested in seeing what the hype is, with it being widely considered a cinematic masterpiece and milestone. Four is if one is interested seeing whether Janet Gaynor's Oscar win was deserved.

'Sunrise' in my mind absolutely deserves every ounce of the acclaim it garnered and still gets. Murnau was a truly fabulous and influential director whose (too few) films were watchable at their worst and amazing at their best, and while 'Faust', 'The Last Laugh' and 'Nosferatu' are wonderful films 'Sunrise' gets my vote as his best. Of the many fantastic silent films out there, in a list that includes 'Metropolis', 'The Crowd', 'The Last Laugh', 'Intolerance' and 'The Cabinet of Dr Caligari', 'Sunrise' is one of the very finest. Cannot say enough great things about it and Gaynor's Oscar win is easily one of the most deserving winners in the early years of the Academy Awards history (in a period with a fair share of questionable nominees).

In a period of exceptionally well made films and even for a director who was a visual master, 'Sunrise' looks exquisite. Not many films at the time and since had cinematography this level of stunning or full of wonder, with also a surprisingly witty style and chockful of images that actually tell a story. As always with Murnau, the sets are indicative of a lot of time, money and thought went into constructing them as they are very rich in detail and lavish. It is also one of the few films where back projection is used well and looks good, usually it looks cheap but here it is quite imaginative.

Murnau's direction was seldom more accomplished or more inspired than here in 'Sunrise', which is quite a feat from one of the more accomplished and inspired directors of the silent film era. A perfect example of why he is justifiably lauded in cinema. The music is beautifully done, it appeals on the ears and is not intrusively used or emotionally over-emphasised. 'Sunrise' is also sincerely written and doesn't ramble. The story is nothing short of timeless and of all the silent films in existence to me 'Sunrise' is the one that connects with me the most emotionally.

A lot of poignancy can be seen here and there are a fair share of memorable scenes, particular standouts being the hard hitting rowboat scene and the visually unforgettable trolley ride. It is one of the few rewatched films this year to uplift me and fill me with hope, sorely needed at a point where that was not felt very much. Simply put, 'Sunrise' is a masterpiece of complex range of emotion.

Wonderful acting can be seen here too, with Gaynor being perfectly cast and a revelation in the lead role, charming and deeply felt.

One can argue that masterpiece is thrown around a lot and too easily these days and personally have tried to avoid using it a lot, but 'Sunrise' deserves it. Amazing film and a fine example of a film that one should see before they die. 10/10.