L'aurore

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 not a big fan of domestic melodramas but I have to give some credit to this one. Some shots in this movie would be difficult to film even today.

The movie uses two women - one from the city and the rural wife - to expose the man's internal feelings. The city woman portrays corruption and modernity while the rural wife is quite opposite - she's virtuous with good intentions and portrays purity. Throughout the process, the city is shown to corrupt the marriage between the man and his wife and then serves to renew and even mature their relationship. As the man spends time with the city woman, he becomes corrupted and zombie-like but when he spends time with his wife in the city, their love is renewed with positive change as their relationship blossoms again.

The two of my favorite scenes got to be the first boat ride when the man attempts to murder his wife, and when the man walks out with his wife out of the chapel where a tracking shot follows the couple as their walk through the city and several film layers. The boat ride seemed really peaceful, even with the cruel intentions behind it, and you can only admire the camerawork here. The shot, when they walk out the chapel is so romantic - the city is moving around them and they don't even notice. They only notice the presence of each other. Both of these scenes are visually fascinating and the production like that it rarely met in films today.

SUNRISE is easily the greatest film made in the silent era. Murnau's story (or filmed poem, according to the credits) is about a troubled farmer (George O'Brien) and his secret girlfriend (Margaret Livingston) plotting to murder his wife (Janet Gaynor, possibly the sweetest, most likable adult character in film history!) The storyline, the dark, moody photography, the creepy sets (especially that swamp!) makes you think this will be a thriller with an unhappy ending, much like AN AMERICAN TRAGEDY. About half-way through the film, Murnau pulls such a daring 180 degree turn with his film, you'll shake your head, and will love it. I doubt film-makers today would try for such a daring move!

It is shame that Murnau died middle aged in 1931. Had he of lived another 30 years, and made films up until the age of Cinemascope, looser censorship, 60's technology, what great films we would have.

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

Before the movie starts properly, Sunrise professes that life is sometimes bitter and sometimes sweet, and that is exactly what this film is; a bittersweet symphony of life and love. Flamboyant German director, F.W. Murnau directs this film with a great love and precision, his direction in the movie is flawless. Sunrise features very little story cards, and it almost totally told with just visuals and music. This is a testament to Murnau's talent for storytelling; to portray a story without dialogue is something that all silent films have to do, but to tell a story without many story cards either is something that many directors would struggle to do. The music in Sunrise is simply sublime; it fits what's going on in the film to a tee, and also succeeds in making the visuals' power more potent. Sunrise is a groundbreaking film, some of the techniques used by Murnau to tell his story are amazing, especially for the time. Techniques such as his use of flashback have had a major impact on cinema as a whole.

And the film isn't just a technical marvel either; there is more than enough substance here. The plot isn't massively substantial, but it's the subtext that is important. It follows the story of a man who, tempted by a woman from the city, gets talked into murdering his wife. Him and his wife used to be madly in love, described by their maid as 'being like children', but the love has since stagnated and so the man is easily taken in by an offer from a beautiful to move to the city. However, when it comes to doing the act; he can't do, and so the film moves into following the two falling back into love. Like life itself, the film is never plain sailing and that seems to be it's central message, along with the fact that love is more powerful than anything that life can throw at you. And those are welcome messages in any film, especially one as brilliant as this.

Overall, Sunrise is a masterpiece. It easily ranks as one of the best, and most important silent films ever made and it is as brilliantly technically as it is on the substance front. A must see for all fans of cinema.