Murnau's gorgeous expressionism and amazing camera effects make this a film unlike any other. The lavish deco sets of the big city recall the ambition of Metropolis. It is the ultimate example of the visual reach of silent cinema. A medium that, in this film achieved its apogee, just as it was made redundant by Al Jolson singing Mammy in the Jazz Singer.
This is a simple tale of a country couple whose marriage is threatened by poverty and a predatory woman from the city, who convinces the husband to kill his wife. He proves unable to do so, but she gets the idea. The man must seek her forgiveness... but still fate still has a final twist to deliver.
George O'Brien and Janet Gaynor are extremely poignant as the couple, and then movingly comical as they again grow closer together on a trip to the bright lights. There's a lovely scene when they walk out of a church having watched a wedding, and the passing public assume it is they who just got married.
The story may be realistic, but the frame is full of enchantment. It feels reductionist to call this film a tearjerker, but that's the magic of Murnau's achievement and his testament. And the wonder of all cinema. He died in 1932 in a car cras aged 42, but nearly a hundred years on he's still fascinating his audience, and provoking our tears.
Didnt know it was a Silent Film-very melodramatic,simple story & very dated.Probably in its time original but by modern standards it doesnt stand up as a resonable watch. Glad that I have now seen it & can write it off my bucket list.
Norman.