Faust, une légende allemande

I think of Murnau's Faust as a masterpiece not only of cinema, but of the human imagination. I understand that reviews at the time of its premier were lukewarm, but I honestly can't imagine not feeling grateful for the opportunity to see this film today. Moments and images from it are so powerful, they are vivid in the mind years after seeing them -- two hours in a dream world.

The flying sequence has been commented-on more than once, and with good reason. It is a spectacular series of shots wherein the camera tracks through long miniature sets which gradually change from a dense cluster of medieval rooftops and steeples, to a tortuous countryside of mountain peaks and snake-like rivers, twisted trees, deep gorges with plunging waterfalls and stone cliffs, rapids, a field of long grass, elaborate renaissance architecture and an Italianate palace. Along the way there is an encounter with grotesque elongated black birds in the sky, their wings flapping in unison. The sets incorporate running water (with little bits of smoking material floating in the rapids to simulate splashes and spray), an illuminated moon, and smoke to simulate clouds and fog. The whole sequence can't be much more than a couple of minutes long, but the effort to design, construct and coordinate the sequence must have been staggering. The following palace scene is set on a huge multi-level set with female dancers stretching off into the distance. They are there for no better reason than to establish an atmosphere of sumptuous decadence, and young Faust arrives in the middle of this riding between two enormous elephants, which seem to be entirely artificial and crafted of fabric, wire, etc. So it goes throughout the production. Almost every scene is a feast for the eyes, and the darker scenes are vividly expressionistic in design.

The acting is the old-fashioned silent-movie variety of big operatic gestures and vivid facial expression. It may seem odd to those not used to it, but it is NOT an example of ham actors overdoing it. This was a legitimate style of acting in its time, and offers genuine artistic beauty to those who can manage to appreciate it.

The fact that there seems to be no video version of `Faust' at the time of this posting is criminal. Ditto for Murnau's "Sunrise." These things should NEVER be out of print.

Title: FW Murnaus Faust (1926)

Director: FW Murnau

Cast: Gosta Ekman, Camilla Horn, Emil Jannings, William Dieterle Review:

Having seen Murnaus Nosferatu and having enjoyed it immensely I had to check out some of his other films. Faust quickly caught my attention. After Murnau made Nosferatu, he was given the opportunity to do whatever film he wanted..and they gave him the huge budget to do it. The result was an impressive, visually stunning, supernatural film.

God and the Devil are fighting for who gets to control humanity. They do a wager, they decide that if Satan (aka as Mephisto) can corrupt Faust then all of humanity would belong to Mephisto. After the wager is on, Mephisto spreads the plague throughout Fausts town and people start dying. He decides to call upon the powers of darkness to help people out.

First off, more then anything, this movie is a true visual feast. How Murnau made this movie with the limited resources he had at the time is a true testament to his talent as a filmmaker. Heck, it was 1926, before make up fx, before stan winston, before blue screens and CGI, before anything! Yet, he managed to create an incredibly rich film. Heck this guy even managed to do a crane shot in the movie! In a scene where Faust and Mephisto are flying through the sky's...the camera swoops over a landscape filled with waterfalls, mountains and cliffs...all in one shot! I was actually amazed how with their limited technological resources Murnau managed to do this type of shot back in those days.

The imagery is amazing...starting with Mephisto spreading his gigantic black wings over Fausts small town. I kid you not when I say that, that image is one of the coolest images I have ever seen on any movie. Images of the horsemen of the apocalypse riding the sky's....angels with swords, Faust conjuring up Mephisto by reading from his book...man this movie was really something to behold. Its all wrapped around that black and white aura that gives the film that eerie feel. Kinda like the same feeling I got when I watched White Zombie. I love black and white horror visuals. And Faust was full of them.

Of special interest to me was that scene where Faust conjures up Mephisto by reading some words from a book, its truly a great movie moment with an incredible supernatural feel. The visuals of those circles of light emanating from the ground up towards the sky...that was amazing. And actually I think that scene influenced Francis Ford Copolla in Bram Stokers Dracula because he uses the exact same image of circles of light emerging from the ground.

Faust fantastical imagery truly demonstrates that Murnau had complete and total control over everything that he showed on the screen. The snow, the wind, the shadows, the lights...all perfectly handled to create the exact mood and feel that was required at them moment. Its quite obvious as well that this movies benefited from a much much bigger budget then Murnaus previous films. The sets look a lot like those on Caligari at times, the detailed miniatures are very well achieved and the extras are plentiful.

The performances are great, better then in Nosferatu. They are sometimes a bit exaggerated, but not as much as in other silent films I've seen before. On this one, the performances seemed just right to me. Of special mention is Emil Jannings as Mephisto. This guy played Beelzebub with some real relish. The character comes off as evil, treacherous, calculating...and he does it all with this smirk on his face. Great character. The make up on him is great and he kinda reminded me at times of Bela Lugosi as Dracula. But overall, hes performance was the best in the film. I also really enjoyed Camilla Horn as Gretchen, her scenes with her baby in the snow were great not only in the acting department but visually as well.

Overall, Id recommend this movie to those of you interested in German silent cinema. Its really something to see how even in those days, the imagination and creativity was there. And even the limited technological resources couldn't hold them back from creating a truly beautiful, haunting, spooky, supernatural film. For those of you who enjoyed films like Murnaus Nosferatu or Robert Wienes The Cabinet of Dr. Caligari then you will most certainly love Faust.

I would certainly say it is far superior to the films mentioned before, yet for some reason doesn't get as much recognition. Check it out schmoes for a slice of the best horror silent cinema ever. Definitely worth a look.

Rating: 5 out of 5

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.

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.

(Contains spoilers)

Goethe's FAUST means to German-Speaking countries what HAMLET means to the English-Speaking world: The terror of schoolchildren forced to write essays and memorize its most famous quotations. Murnau's silent screen version offers us the unique opportunity to enjoy all the suspense of the play without being bothered by the immortal lines of its great author...The version I have seen was restored in 1995 by Luciano Berriatua and offers everything a film fan can hope for: Masterly direction, awesome visuals (at a time where sets were built, not painted with a computer!) and knock-out-performances.

The divine force (here personified by a youth with swan-wings) and Mephisto (Emil Jannings as black crow with goat-horns) struggle over the world domination and open the competition over Faust's (Gösta Ekman) soul. Mephisto spreads his wings over the city and the plague breaks out. Unable to find a cure for the disease, Faust conjures up the devil. Mephisto, now the prototype of middle-aged gluttony, appears and offers Faust a try-out-contract for just one day. This poor old fellow gets his youth back, but the devil is a pretty good psychologist: The very moment when Faust is about to seduce the duchess of Parma, the most beautiful woman on earth, his sands have run out. Now, of course, he is willing to sign the long-term-contract...With a filthy grin, Mephisto draws the curtains of the four-poster.

Carnal desire, however, cannot satisfy Faust for long. Innocence is, what tempts him now. Back in his home town he falls in love with Margarethe (Camilla Horn) who is on her way to church. Mephisto, on the other hand (Jannings, his upper half dressed like a shogun, his lower half in a skin-tight hose) gets hear-ache from her pious singing. The seduction scene would hardly pass today's censors: Among other things, Mephisto mixes a love-potion for Margarethe's cousin Marthe. Heated up, this poor woman starts to chase Mephisto in a slightly indecent manner...

Some scenes are of unearthly beauty, others shocking to an unbearable degree: Margarethe put on the pillory - the crowd rallies to gape at her. She drags herself along, her baby in her arms during a snow-storm - no one will help her. The devil deceives her once more with the illusion of a cradle: She puts her baby to bed - only to discover that she buried it under a blanket of snow. The vision of Margarethe's crying face follows Faust over chains of mountains...

Ekman was Ingrid Bergman's partner in the swedish version of "Intermezzo"; The other stars went Hollywood: Wilhelm became "William" Dieterle, the famous director, Camilla Horn was John Barrymore's leading lady in "The Tempest" and "Eternal Love", and Jannings was, of course, the first actor ever to win an oscar. When he returned to Germany, they rolled out the red carpet for him: he remained the most renowned german actor until his death. Sadly, he also made some propaganda films, one of them (the anti-british "Ohm Kröger") is still blacklisted.