Il nostro pane quotidiano

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

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...

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

Not as well known as "Sunrise" but in its own way just as fine, "City Girl" is another Murnau pastoral in which "City Girl" and waitress Mary Duncan moves to the wheatfields of Minnesota as the wife of farmer Charles Farrell, (one of the greatest and least appreciated of silent movie stars), only to find his father taking against her and life down on the farm not as ideal as she thought it would be. It's a film that is said to have influenced Terrence Malick and there are images here as eloquent as any in "Days of Heaven" and its one of the few really good parts Duncan ever had. Although she lived to be ninety-eight she only made 16 films and retired in 1932.

If the plot is novelettish Murnau's handling of it is anything but. He takes melodramatic material and situations and imbues them with a realism that the American cinema never really seemed to develop for at least a decade or two, aided by the magnificent cinematography of Ernest Palmer and the wonderful performances of the leads. It also proved to be Murnau's penultimate film; he died in a car crash the following year leaving behind a body of work as fine as any in all of cinema.

Fairly familiar story, but told with real intimacy, restrained acting, and Murnau's always sensitive and virtuoso direction.

Murnau has been compared to Welles, since both directors have cultured, poetic sensibilities, work brilliantly with actors, and constantly experiment, testing and expanding the expressive possibilities of the film medium, but here is the difference:

Welles was an extrovert, a showman, parading his brilliance. Murnau, no less brilliant, is more subtle. His SUNRISE is to the silent era what CITIZEN KANE is to the sound era, but even in that film his innovations are "the art that conceals art".

A casual viewer will see nothing in CITY GIRL but a nice story, well-executed. But the film is full of technical bravura for cinema fans: notice the perfection of the process shots in the opening train sequence. You didn't see this done as well in many major Hollywood films made even in the 1950s. Notice the farmhouse scenes where both the interiors and the brightly sunlit exteriors, visible through windows and doors, are PERFECTLY exposed. Even today, in the 21st century, we see films in which this isn't handled as well as Murnau & Co. do it here in 1928.

I saw the 90 minute silent version, which is the one to seek out -- not the shortened, half-talkie version.

Murnau's combination of technical brilliance, bold experimentation, superb direction of actors, and deep emotional sensitivity is practically unique in film history. He did EVERYTHING well. And if you have a chance to see his much earlier DER BRENNENDE ACKER (THE BURNING EARTH) see how much of this he was already achieving even with the primitive techniques and equipment of 1922. What a tragedy such a genius had to die in a car accident at the youthful age of 42.