F.W. Murnau

F.W. Murnau – Phantom (1922) (HD)

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Phantom is a 1922 silent film that was directed by F. W. Murnau the same year Murnau directed Nosferatu. It is an example of German Expressionist film and has a surreal, dreamlike quality. Read More »

F.W. Murnau – Der Gang in die Nacht AKA Walking into the Night [+extra] (1921)

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Dr Eigil Borne is engaged to Hélène, a girl who is madly in love with him. At Hélène’s birthday celebration, Eigil invites her to a cabaret, where he meets his other love, Lily, a passionate, fiery and funny dancer. Read More »

F.W. Murnau – Die Finanzen des Großherzogs AKA The Finances of the Grand Duke (1924)

The likeable and carefree Grand Duke of Abacco is in dire straits. There is no money left to service the State’s debt; the main creditor is looking forward to expropriating the entire Duchy. The marriage with Olga, Grand Duchess of Russia, would solve everything, but a crucial letter of hers about the engagement has been stolen. Besides, a bunch of revolutionaries and a dubious businessman have other plans regarding the Grand Duke. With the intrusion of adventurer Philipp Collins into the Grand Duke’s affairs, a series of frantic chases, plots and counter-plots begins… Read More »

F.W. Murnau – Der Brennende Acker AKA Burning Soil (1922)


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When farmer Rog dies, his son Peter stays, but Johannes can not be satisfied with such a condition (and servant Maria’s love) and finds a job as old Count Rudenberg’s secretary. His ambition leads him to charm Gerda, the Count’s unique daughter. But when he discovers that Count’s second wife Helga will soon inherit a field that only he knows his underground is full with petroleum, he changes his allegiance… Greed and death. Read More »

F.W. Murnau – Nosferatu, eine Symphonie des Grauens (1922)

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Based illegally on Bram Stoker’s Dracula, F. W. Murnau’s film is undeniably the best and probably the most faithful of the myriad of films based on the novel. Naively, the film’s producers attempted to circumvent the author’s estate’s copyright by changing the names and central location of the film. London became Wisborg, Count Dracula is called Graf Orlock, Jonathan Harker became Hutter and his wife Mina was named Ellen, and so on. Ironically, in all prints struck over the last few decades, the names (apart from the location, for obvious reasons) have reverted to the originals of Stoker’s novel. Made on a tiny budget by Praha-Film, as the first of an ambitious slate of occult films, an overzealous spending on promotion sent the film rapidly into debt, limiting its distribution potential. Add to this, a tenacious perseverance on the part of Stoker’s wife Florence to protect her copyright (who almost saw to the destruction of all prints of the film when the original negative was destroyed after a court decision). Read More »

F.W. Murnau – Sunrise: A Song of Two Humans (1927)

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Roger Ebert wrote:
The camera’s freedom to move is taken for granted in these days of the Steadicam, the lightweight digital camera, and even special effects that reproduce camera movement. A single unbroken shot can seem to begin with an entire city and end with a detail inside a window — consider the opening of “Moulin Rouge!” (2001). But the camera did not move so easily in the early days. Read More »

F.W. Murnau – Der Letzte Mann AKA The Last Laugh (1924)

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Jannings’ character, the doorman for a famous hotel, is demoted to washroom (bathroom) attendant, as he is considered too old and infirm to be the image of the hotel. He tries to conceal his demotion from his friends and family, but to his shame, he is discovered. His friends, thinking he has lied to them all along about his prestigious job, taunt him mercilessly while his family rejects him out of shame. The man, shocked and in incredible grief, returns to the hotel to sleep in the bathroom where he works. The only person to be kind towards him is the night watchman, who covers him with his coat as he falls asleep. Read More »