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I was so astonished by this movie that as soon as "The End" came up, I started watching it all over again. For one thing, the restoration of this forgotten classic was so stunning it was like watching a black and white movie made an hour ago. Each scene simply glowed with amazing grays and whites and charcoals. Mary Duncan as the 'City Gir' was absolutely enchanting. She was a sweet, young girl who was also feisty and was so believable and likable that she became someone you'd love to know. The movie's great loss is that she made only one other movie, 'Morning Glory" before leaving the screen to marry millionaire polo player. She only died recently at the age of 92 She was matched by silent screen great Charles Farrell who had t difficult role of Lem, who was also simple, sweet but manly, too. Although released in l930, this film confirms how incredibly smooth and profound silent movies had become. Director Murnau brilliantly cast and directed this amazing drama--proving to one and all what a profound loss silent movies became when they were overtaken by those noisy talkies. You should definitely check out this masterpiece and be amazed

Excellent actors, good music, NO STUPID DIALOGUE and a story I was really interested in. The supporting actors had personality, the bad guy was realistic, for a long time the first movie I really had to see all the way to know the ending (happy end? No? Yes? No?). Perhaps a bit too much "Pathos" in the end, but I didn´t care...

Minnesota country boy Charles Farrell (as Lem) goes to Chicago, to sell the family's wheat harvest. In the hectic city, he meets pretty coffee shop waitress Mary Duncan (as Kate), who longs for the simple life. The attractive pair fall blissfully in love. After marrying Ms. Duncan, Mr. Farrell takes her home to live with his country family. But, father David Torrence (as Tustine) distrusts the "City Girl", and is angry with his son for selling his wheat at an inferior price. A stern patriarch, Mr. Torrence drives a wedge between the happy couple. To make matters worse, Duncan becomes prey for some arriving reapers…

This is another stunner from director F.W. Murnau ("Sunrise"), who would so tragically die in a car accident (after only one more film). "City Girl" was produced by Mr. Murnau as a "silent" ("Our Daily Bread"); but, Fox Films recalled the movie, and turned it into a "talkie". At the time, Farrell's name was rising to the upper reaches of "Box Office" star lists, but, truth be told, only Charlie Chaplin and Greta Garbo still had the power to draw audiences to a silent movie (and, even that was fading). With re-shoots, a partially talking "City Girl" was seen briefly, and forgotten.

The unearthed full length silent version was, thankfully, preserved. It is a near-perfect film. Farrell, who many felt deserves some "Best Actor" recognition fro his role in "7th Heaven", outdoes himself. Murnau, photographer Ernest Palmer, set director Harry Oliver are also award-worthy. Although she looks too startlingly glamorous in the country portions, Duncan is hot in the city. No wonder leering Richard Alexander (as Mac) couldn't keep his hands off her. The entire cast performs splendidly, right down to David Rollins giving Duncan lift at work.

Sequences to re-play (if not the whole movie): Farrell walking the crowded city streets, Duncan in her apartment (where she blows the city dust off her suffocating plant), the couple's ecstatic run through his father's wheat fields, the arrival of grinning Guinn Williams and the reapers, and their harvesting scenes. Murnau's direction of the horse-driven wagons is especially spectacular. The lighting is brilliant throughout.

********* City Girl (2/16/30) F.W. Murnau ~ Charles Farrell, Mary Duncan, David Torrence, Richard Alexander

Murnau's third American film after Sunrise and the lost Four Devils, and his penultimate before Tabu. City Girl, of the surviving three, is the least seen. The reason for this must be its close resemblance to Sunrise, which is a masterpiece of the first order. Yes, City Girl does remind one of Sunrise in its mood and focus. A young rube from Minnesota (Charles Farrell) travels to Chicago to sell his father's wheat crop. Business-wise, the trip doesn't go well, but his romantic world blossoms when he meets up with a lonely waitress (Mary Duncan). The two marry, and the rest of the film deals with Duncan's fight for acceptance on the farm, where she faces a fierce opponent in her father-in-law (David Torrence). The film is romantic, emotionally moving and utterly beautiful. Yes, it is a lot like Sunrise, but, heck, who wouldn't want a second Sunrise? It's hardly a carbon copy, anyway, so it's like another wonderful gift. City Girl is a masterpiece, as well. I'm not the biggest fan of Murnau's German films, but his three surviving American films are probably the best proof of the sentiment that the silent cinema was at a miraculous level right when it was snuffed by sound. Murnau tragically died in an auto accident in 1931. I find it hard to imagine his work in the talkies, but I have an inkling that the cinema would be rather different if he had survived.

Minnesota farm boy Lem (Charles Ferrell) travels to the big city of Chicago for the first time to sell his family's annual wheat harvest. He meets tough-cookie waitress Kate (Mary Duncan) who dreams of a simpler life. The two fall for each other and get married, but they receive a less-than-warm reception back home from Lem's angry, tyrannical father (David Torrence). Kate is disappointed when Lem won't stand up to his father's violent ways, and things get more complicated when a work team arrives for the harvest, and the men start making advances on Kate.

Although less artistically flashy than many of Murnau's films, this is stronger narratively. While Murnau was said to be disappointed that producer William Fox insisted on the casting of Duncan in the female lead (Murnau wanted to cast Janet Gaynor), I have to say that I was very impressed with Duncan's performance, and I consider it the highlight of the film. Torrence is also good as the mean father, and I like that he's given a nuanced background, showing that his ill-temper is a result of his worries over making ends meet and paying the bills, a source of stress for most farmers. The only drawback for me with this movie was that the end tied everything up a little too neatly to be believable. Recommended.