L'aurore

This silent movie was absolutely amazing. It was so moving and technical and just well produced. Its amazing how a silent film can make you feel so many emotions without words. It was suspenseful and refreshing from all the movies I've seen that aren't silent. I can see myself watching more silent films because of this one.

A blinding drama and portrayal that anyone holding the experiences of the hazards encountered during the tricky travails of a relationship expiring will know only too well. Melodramatic, absolutely, but given the tools and instruments of the day it would have been difficult to be anything but, and therein lies its beauty, as the performances are as convincing, genuine and honest as any encountered on stage or screen today. Peel away your inhibitions, revel in a magnificent corona of emotion, torment and resurrection and let this outstanding visual experience sear into your soul, enlighten and forgive and provide a truly celestial piece of art, imagination and polarity.

I finally got a hold of the 'Sunrise' DVD, which is only available in English-speaking America (for free) by buying three titles of the excellent Fox Studio Classics line and sending in proofs of purchase. I urge everyone to get this DVD either by sending your three coupons to the promotion or by dealing with someone in the province of Québec since it appears to be the only place in North America where this contest is void and one can buy it directly off the shelf.

I have heard about 'Sunrise' all my life but the closest I ever got to see a part of it was, as a quote, in Martin Scorsese's 2-DVD made-for-the-BBC lecture with illustrations 'A Personal Journey with Martin Scorsese Through American Movies' (1995). Nobody told me the following:

It is a pioneering, overwhelming piece of cinema that still manages to move me (ME!) after I thought I had seen everything. It is a profoundly human film which made me cry for 15 minutes solid in its first part (a reconciliation scene that has to be seen to be believed). This film has more special effects than Terminator 3, all in the service of a thoroughly poetic, bucolic, pastoral, personal, contemplative, idiosyncratic, lyrical, late romantic and expressionist vision of humanity. Its love story, poignant and comic elements have inspired, in no specific order, René Clair ('Le Million'), Jean Vigo ('L'Atalante', 'Zéro de conduite'), Charlie Chaplin (all his subsequent films), Fellini ('La Strada', 'Nights of Cabiria') and even James Cameron ('Titanic').

The camera is extremely mobile (more so than in most of today's films, except maybe The Matrix) and the acting is superb. I finally understand why Janet Gaynor was such a big star and a big deal in her time. Her co-star George O'Brien would be hunk-o-rama of the month at the box office today if he was still around. Margaret Livingston (who she?) is also quite realistic as a believably enticing city girl vamp (of modest means) who tries to lure the hero away from his deserving wife.

The DVD has more extras than a Criterion issue, including a tentative reconstruction of Murnau's missing American masterpiece 'The Four Devils' (a circus love story) and the entire shooting scripts of both 'Sunrise' and 'The Four Devils'.

'Sunrise' is presented with two soundtracks: the original (mono) Movietone (i.e. optical track) anonymous composite soundtrack cobbled together from several sources (think Wagner's Siegfried Idyll) and a newly written and recorded (stereo) score with all-original themes, that closely follows the original in spirit but not in melody.

Both soundtracks try to add an intimate, poetic dimension to the film, which is subtitled 'A Song of Two Humans'. The music is an integral part of the experience as the film is conceived as a tone poem and, as such (my theory) is a kind of transcription for the masses of Schoenberg's 1900 string ensemble tone poem 'Verklärte Nacht' (Transfigured Night), a late-Romantic/early expressionist attempt to describe musically the 'truly profound and authentic' relationship between a man and a woman who have problems (the music follows a poem of the era).

Both soundtracks succeed admirably, my preference going to the new one, despite the original's polish, historical value and magnificent preservation. And that would be because, although in the silent era there was no stigma attached to accompanying silent movies with a score made up of public domain and rather recognizable pieces, as long as they fit the mood, times have changed ('2001, A Space Odyssey' notwithstanding) and this practice is more distracting than anything for a contemporary, moderately educated spectator.

Murnau had very highbrow ambitions but his film is totally clear and populist and made to reach the widest popular audience thanks to the incredible sums of money and artistry that Fox poured in the project. 20th Century Fox basically imported a genius from Germany, gave him a ton of money and told him: 'Make us a movie that will be the most prestigious ever made in this town and that will win us the first Oscar'. And that's just what he did!

Needless to say, that was a long time before Rupert Murdoch took over the Fox Corporation...

I am a big fan of the silent era, especially the German expressionist films, and I would have to say that although there are many great silent films-- Metropolis, Pandora's Box, The Wind, etc.-- this film is my favorite. I feel that it is Murnau's greatest film. While it does not have the social implications of his films such as "Nosferatu" or "Faust," the cinematography, acting, and Murnau's unabashed belief in the power of love helps this film to rise above the rest.

The acting is sterling, with a 21-year-old Janet Gaynor looking incredibly similar to Drew Barrymore, and delivering a layered performance that reveals her character's strong but tenuous emotional state. I suspect that George O'Brien wasn't exactly what Murnau wanted for his lead actor, due to the lengths that Murnau went to to extract O'Brien's performance, but credit is due the actor for a performance which was brave at times and never ego-centric.

Murnau's use of symbolism and metaphor are suppressed compared to the standards of his other films. In this film their use is more to augment the story rather than actually being the story under the narrative. One example is the fish nets waving the wind as O'Brien returns home from his tryst with the dark seductress, a terrific metaphor for his entrapment and helplessness.

The story itself is one that can appeal to many audiences, as it has its fair share of melodrama, comedy, sap, and suspense. I saw this film with my 17-year-old nephew, who is your typical disaffected digital generation teenager, and he was awful quiet during the dramatic sequences and awful loud during the comic portions. It is amazing how I my own emotions were manipulated by the film without Murnau ever being manipulative or obvious.

The true star of this film, of course, is the cinematography. It is simply awesome. I have done a lot of work with old film cameras, and I have no clue how Strauss managed some of the shots he did. Murnau was one of the first directors, if not the first, to use camera motion during a film. This was no small feat in the days where the camera was not motorized and had to be hand-cranked. The camera movement is amazing. There is a shot where O'Brien moves through the swamp, with wet, muddy, and uneven ground, to meet the woman from the city, and the camera tracks along with him. It looks like a steadicam shot! No track could have performed this shot as it exists, and I have no explanation on how he did this other than that he must have suspended the camera from the ceiling of the studio. Shooting a swamp scene with fog and a full moon in a studio is a feat in itself. There are also other feats of cinematography. There are several shots where the city is the typical cardboard cutout, there are people milling around in the street, yet the trains and trolleys are obviously models. HOW????? If you are able to get the DVD with the cinematography commentary, it is well worth the investment.

To the king of the silents... 10/10

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.