Faust

By 1925 UFA, German cinema's pioneer production company, was almost collapsing under the weight of mounting financial difficulties, having lost over eight million dollars in the fiscal year just ended. It was at this point that American film studios found the perfect opportunity they've been looking for to finally defeat their one opponent in the market of continental Europe. It was ironic that a film industry born out of the necessity of WWI and Germany's inability to provide American, British or French films in the years between 1914 and 1919 would go on to become Hollywood's number one opponent. Indeed Paramount and MGM offered to subsidize UFA's huge debt to the Deutsche Bank by lending it four million dollars at 7.5 percent interest in exchange for collaborative rights to UFA's studios, theaters, and personnel - an arrangement which clearly worked in the American companies' favor. The result was the foundation of the Parufamet (Paramount-UFA-Metro) Distribution Company in early 1926.

This is only tangential to FAUST but important nonetheless to place the film in its correct historical context. Both as FW Murnau's last German film before he left for Hollywood and as UFA's most expensive production to that date. It is no wonder that within a year of accepting Hollywood as business partners, UFA was already showing losses of twelve million dollars and was forced to seek another loan, when FAUST, a film that cost them 2 million dollars alone and took six months to film only made back half of its budget at the box office. FAUST would go on to be succeeded by Fritz Lang's METROPOLIS as the most expensive German production but it remained FW Murnau's aufwiedersehen to Weimar cinema. He was one of many German film artists and technicians that migrated to sunny California following the Parufamet agreement (Fritz Lang would follow a few years later, having refused Goebbels' offer to lead the national film department for Nazi Germany, along with others like Paul Leni, Billy Wilder, Karl Freund and Ernst Lubitsch).

Weimar cinema wouldn't make it past the 1930's and FW Murnau's career would come to an abrupt end with his death at 42 in a car accident, but FAUST, as the last German production, not only in nationality, but also in style and finesse, definitely deserves its place next to 1922's NOSFERATU in the pantheon of German Expressionism. Frontloaded in terms of spectacle and dazzling visuals, this retelling of Goethe's classic version of Dr. Faust's story is as slow paced and dark as Nosferatu but with the kind of fantastic, mystical and romantic blend that characterized German post-war cinema. A cinema aimed at repressed lower middle-classes which, in the absence of a national identity swept away by war, were now turning to a new cultural identity conscious of the social realities of the times. In that sense, Murnau's Faust is part escapism spectacle, part edifying fable on the corruption of evil and the redeeming qualities of love and forgiveness.

And if the story is overwrought melodrama by today's standards, the magnificent sets constructed by UFA technicians and special effects work stand shoulder to shoulder with some of the best from the 20's. Mephisto looming black and gigantic over a town swept by plague is an iconic image etched on the same pantheon wall of German Expressionism as Count Orlok's shadow. The angels of death riding on their horses with beams of light shooting through them combines the dark fantasy of the production design with expressive lighting, the kind of which would eventually become shaped into film noir by directors like Otto Preminger and Fritz Lang. Gösta Ekman as Faust (superbly made-up as an old man to make even Welles green with envy) and Emil Jannings as Mephisto stand out among the cast.

F.W. Murnau's telling of the classic German legend, 'Faust' is a masterpiece to behold. From both the technical and story standpoint, the film excels and despite being nearly eighty years old, Faust still stands tall as one of the greatest cinematic achievements of all time. F.W. Murnau has become best known among film fans for 'Nosferatu', but this is unfair to the man. While Nosferatu is something of an achievement; it pales in comparison to this film in every respect. Faust is far more extravagant than Murnau's vampire tale, and it shows his technical brilliance much more effectively. The story is of particular note, and it follows a German alchemist by the name of Faust. As God and Satan war over Earth, the Devil preaches that he will be able to tempt Faust into darkness and so has a wager with God to settle things. Satan sends Mephisto to Earth to offer Faust an end to the plague that is making it's way through the local population, and eternal youth, in return for Faust's soul...

The way that Murnau creates the atmosphere in the film is nothing short of amazing. The lighting and use of shadows is superb, and helps to create a strong sense of dread at the same time as making the film incredibly easy on the eyes. It's the music that's the real star of the show, however, as it's absolutely fantastic and easily ranks up with the greatest scores ever written. The scenery is expressionistic and gives the film a strong sense of beauty (which is increased by the excellent cinematography), especially in the darker scenes; all of which are an absolute delight to behold. The story is undoubtedly one of the most important ever written, and within it is themes of good, evil, religion and most importantly, love. The points are never hammered home, and instead they are allowed to emancipate from the centre of the tale, which allows the audience to see them for themselves rather than being told; and that's just the way a story should be.

It's hard to rate the acting in silent cinema as being a member of a modern audience, I'm used to actors acting with dialogue and judging a performance without that is difficult. However, on the other hand; silent acting is arguably more difficult than acting with dialogue as the only way to portray your feelings to the audience is through expressions and gestures, and in that respect; acting is just another area where this film excels. In fact, there isn't an area that this film doesn't excel in and for that reason; it easily ranks up with the greatest films ever committed to the screen.

Faust is my favourite German film, a timeless tale brought to life visually perfect by Murnau in 1926. The photography and special effects although obviously constrained by the prevailing technology was stunning and relentless, a tour de force of camera trickery to bring the power of the story across to Artheads and ordinary folk alike. Trouble is, it's a German b&w silent film so mainly Artheads and a few like me will ever see it for its beauty. Sunrise from a year later takes some beating but Faust does it easily.

The Devil wants to rule so places a morally dubious wager that if he wins Dr. Faust's soul he wins the Earth. Faust falls into the snare and so begins his descent into Hell, along with the woman he has in one night of passion – "No man can resist Evil". After 9/11 can we really be sure who won? There's so many memorable scenes: The Devil lowering over the town (Jannings having to spend hours perched uncomfortably over billowing soot until Murnau was happy with the shot); Faust throwing his books on the fire in his fantastic room (with piles of dangerous nitrate film deliberately going up to help); the un-cgi magic carpet ride; Gretchen with her baby in the snow etc. Ekman and Jannings were especially superb in their respective roles, but everyone and everything played their parts well.

The print is a knockout remaster, the menacing atmosphere whenever Faust or Mephisto are in shot is palpable as was only possible with nitrate film stock. Thoroughly recommended to those even only mildly interested who've never seen it before, one I will hopefully watch repeatedly in the future.

To fans of early horror, director F.W. Murnau is best known for 'Nosferatu, eine Symphonie des Grauens,' his chilling 1922 vampire film, inspired by Bram Stoker's famous novel. However, his equally impressive 'Faust' is often overlooked, despite some remarkable visuals, solid acting, a truly sinister villain, and an epic tale of love, loss and evil. The story concerns Faust (Gösta Ekman), an old and disheartened alchemist who forms a pact with Satan's evil demon, Mephisto (Emil Jannings). As God and the Devil wage a war over Earth, the two opposing powers reach a tentative agreement: the entire fate of Mankind will rest on the soul of Faust, who must redeem himself from his selfish deeds before the story is complete.

Relying very heavily on visuals, 'Faust' contains some truly stunning on screen imagery, most memorably the inspired shot of Mephisto towering ominously over a town, preparing to sow the seeds of the Black Death. A combination of clever optical trickery and vibrant costumes and sets makes the film an absolute delight to watch, with Murnau employing every known element – fire, wind, smoke, lightning – to help produce the film's dark tone. Double exposure, in which a piece of film is exposed twice to two different images, is used extremely effectively, being an integral component in many of the visual effects shots. In fact, aside perhaps from Victor Sjöström's 'Körkarlen (1921),' I can't remember double exposure being used to such remarkable effect.

It's often difficult to judge performances in a silent film, but I've certainly got a generally positive attitude towards the acting in 'Faust.' I was particularly astonished by Gösta Ekman, whose character, given limitless evil control, is transformed from a withering old man to a handsome youth. Despite my impression that two different actors had been used, it seems that Ekman convincingly portrayed both the old and young man, which is a credit to both the actor and Murnau's make-up department (namely, Waldemar Jabs). Emil Jannings plays Mephisto with a sort of mysterious slyness, always one step ahead and always up to no good. Whilst I wasn't completely blown away by young actress Camilla Horn as Gretchen – the woman with whom Faust falls in love – her acting is adequate enough, and she certainly shows some very raw emotion in the scene's final act, when her forbidden romance with Faust sends her life in a downward spiral.

'Faust' was F.W. Murnau's final film in Germany, his next project being the acclaimed American romance, 'Sunrise: A Song of Two Humans (1927).' At the time, the film was the most expensive ever made by the German studio, UFA (Universum Film AG), though it would be surpassed the following year by Fritz Lang's classic science-fiction epic, 'Metropolis.' Notably, there were five substantially different versions of 'Faust' produced, several of these by the director himself: these include a German original version, a French version, a late German version, a bilingual version for European audiences, and an American cut compiled by Murnau especially for MGM in July 1926. Each of these altered particular scenes and camera angles, and often included material that would be more relevant to the target cultural audience (for example, the US version reportedly contains a joke about the American Prohibition era).

At the heart of 'Faust' is a love story between the corrupted title character and his doomed love, Gretchen. I felt that the scenes when Faust is trying to coax Gretchen into loving him were the slowest parts of the film, much less exciting and invigorating than the darker and more effects-driven sequences that preceded and followed it. Nevertheless, F.W. Murnau's 'Faust' is an absolute gem of 1920s silent horror, and anybody who doesn't look out for it is very surely missing out on something special.

A lyrical fable version of Goethe's famous story, where Mephisto and an angel gamble with Faust's spirit, the entire film has an aura of delicate beauty. When Faust's town is shrouded with a pestilence, Faust summons Mephisto and agrees to a trial selling of his soul, in the hopes that he can save the townspeople. When Faust does indeed cure the town, Mephisto tempts him with the promise of youth and Gretchen, the most beautiful woman in Italy. Misty, often eerie, fiendish imagery, like satanic birds, hooded men, flying horsemen and Caligari-inspired exteriors fill the screen. When Faust signs his contract, the words burn themselves into the page as Mephisto dips his feather pen in Faust's vein. A wonderful touch near the beginning has Faust trying to escape Mephisto but having him appear wherever he goes, always a few steps ahead. Both Faust, as a young man, and Gretchen are lovely, and Jannings gives an excellent performance as the Dark Prince. A masterpiece of poetic atmosphere that ages Murnau's technical mastery wondrously, the film is aided tremendously by the sometimes ominous, sometimes enchanting orchestral score. 10/10