Movie Project #34: Sunrise: A Song of Two Humans [1927]

The 50 Movies Project: 2013 Edition

In what has become an annual tradition, I have decided to embark in a third round of the 50 Movies Project. The premise is simple — I have put together a list of 50 movies that I feel I absolutely must see in order to continue my progression as a film lover. With so many films to see, it’s easy to get off track and forget about some of the essentials. This is my way of making sure I watch those that have been on my “must see” list for too long.

Sunrise: A Song of Two Humans [1927]

Sunrise: A Song of Two Humans [1927]
Director: F. W. Murnau
Writer: Carl Mayer
Country: USA
Genre: Drama/Romance
Starring: George O’Brien, Janet Gaynor, Margaret Livingston
Running Time: 94 minutes

(This post discusses the film’s plot at length, and therefore contains spoilers.)

Sunrise: A Song of Two Humans, the first American film from German director F.W. Murnau, has developed an impressive legacy since its release over 85 years ago. It shows up on countless “best of” lists, and it is widely considered to be one of the finest silent films ever made (often serving as a gateway to the era, much like Chaplin, Keaton or Fritz Lang’s Metropolis). Sunrise also has the distinction of being the first and only film to win an Oscar for “Best Unique and Artistic Production”, which at the time was considered as prestigious of an award as Best Picture. After finally tackling this undisputed classic, it’s easy to see why it is held in such high regard.

Sunrise tells the story of the Man (George O’Brien) and the Wife (Janet Gaynor), an impoverished married couple that lives in a farmhouse with their young child. Their relationship has seen much better days, as the two of them seem to be growing more and more distant with every minute. Much of this disparity can be attributed to the presence of the vacationing Woman from the City (Margaret Livingston), who has struck up a passionate affair with the Man. Not content to be just a summer fling, the Woman from the City proposes that the Man move back to the city with her. In order to get rid of the Wife, the Woman recommends drowning her and making it appear as an accident. Surprisingly, the Man agrees.

I have to admit that the dark nature of this first act caught me completely off guard. I knew the film wasn’t a conventional love story, but to have such unabashed sex and violence in the silent era came as a shock to me. It also had me hooked immediately.

Sunrise: A Song of Two Humans [1927]

The Man brings the Wife along on a boat ride — to the city, he claims — fully prepared to commit this act of murder. Just as he stands above her, ready to end her life, he has a change of heart and breaks down crying. His wife, obviously distraught, goes into hysterics. Despite this horrifying encounter, the two of them proceed to the city anyway, with the Man desperately trying to make it up to her. He buys her food, gives her flowers and constantly apologizes. No dice.

It isn’t until they stumble upon a wedding in progress that their love is rekindled. The Man, realizing that he has made a grave mistake by breaking his own marriage vows, begs for forgiveness one more time, with the Wife finally accepting. Seemingly remarried (the scene, amusingly, even shows them leaving the ceremony first, much to the surprise of those waiting outside), the two are finally able to enjoy their time in the city together.

Just when it seems like we might get a happy ending after all, the film goes in *another* completely different direction. On their ride home, a terrible storm hits, causing their boat to capsize. The Man washes ashore, but the Wife is nowhere to be seen. Now, in complete contrast to the beginning of the film, the Man is desperate to save the Wife, even getting his neighbors and other townsfolk to search for her.

Sunrise: A Song of Two Humans [1927]

When the Man retreats home, assuming the Wife is dead, the Woman from the City makes another appearance. Full of joy, the Woman attempts to get close to her lover, only for the Man to snap and turn into the same horrifying monster he appeared as during the first boat ride with his wife. Once again, the film comes full circle, as the Man attempts to strangle the life out of the Woman, only stopping once the townsfolk run in yelling that they found the Wife alive and (relatively) well.

And so it goes. The sun rises in the morning, and everything appears to be back to the way it was before the appearance of the evil seductress.

Sunrise: A Song of Two Humans [1927]

A more jaded viewer could nitpick about the jarring transitions between the film’s three acts, but I grew quite fond of its meandering path. The way the film bounces back and forth between darkness and light works quite well, as does the way everything comes full circle in the end.

The film itself is also technologically impressive, and I can only imagine how bold and adventurous it was when it was released. Title cards are few and far in between, and Murnau uses slick camerawork and superimposed images to tell the story. There are some truly magnificent shots, including one in which the Man sits delirious in bed, feeling the presence of the Woman from the City holding him from behind (which we see, with her in a ghostly form).

In short, Sunrise: A Song of Two Humans is an essential film. Its influence is still felt today, and its three distinct acts offer a sense of unpredictability that continues to make this such an engaging watch.


Movie Project #49: Metropolis [1927]

Due to the surprising success of my initial Movies Project, I decided to do a part two for 2012. This time around I put a greater emphasis on directors I am not familiar with, but I also tried to compile a mix of different genres and eras. This will be an ongoing project with the finish date being sometime this year.

Metropolis [1927]

Metropolis [1927]
Director: Fritz Lang
Writers: Thea von Harbou, Fritz Lang
Genre: Drama/Sci-Fi
Starring: Brigitte Helm, Alfred Abel and Gustav Fröhlich
Running Time: 153 minutes (restored version)

It’s hard to believe Metropolis is nearly 90 years old. One of the earliest science fiction films, Metropolis has been wildly influential over the years, and it feels well ahead of its time. Modern dystopian favorites such as Blade Runner and Dark City owe a great deal to Fritz Lang’s film, one of cinema’s most impressive achievements.

Set in the year 2026, Metropolis takes place in a hand-crafted dystopian city that has been divided into two sections. The lower, working class live underground, while the wealthy upper class are rewarded with luxurious skyscrapers and endless entertainment above. The two sides typically have no interaction with each other, but that all changes when a teacher (Brigitte Helm) from the subterranean city brings a group of children to the rich gardens above.

Metropolis [1927]

The woman, Maria, and the children are quickly escorted off the premises, but not before Freder (Gustav Fröhlich) takes notice. Freder, the son of the city’s dictator, Joh Fredersen (Alfred Abel), instantly becomes entranced by both the beauty of the woman and the fact that there is a city of slave-workers down below. He makes it his goal to find this woman and learn about a world he knows nothing about.

Freder quickly becomes empathetic toward the workers’ plight, and he attempts to become a sort of mediator between the two classes. This takes an ugly turn, however, when a mad scientist, Rotwang (Rudolf Klein-Rogge), is contacted by Joh to learn more about the rumblings of a possible mutiny by the workers. Rotwang has developed a man-machine in which he can mold into a clone of any living person. When he chooses to make a robot version of Maria, all hell breaks loose.

Metropolis [1927]

While the struggle between the different classes may feel familiar, what makes Metropolis really stand out are its impressive visuals. Eugene Schuefftan’s special effects are nothing short of remarkable, and the city itself looks absolutely stunning. Inspired by Fritz Lang’s first visit to New York, the skyscrapers are monstrous with an alluring futuristic design. All sorts of transportation are found in the city — long highways rise to great heights while airplanes buzz past — and the underground is a working hell.

There are many versions of Metropolis floating around, but thankfully an almost complete edition of Lang’s original vision resurfaced in 2010. This is the version I saw, and it can be found on Netflix Instant in its proper form. It’s easy to see why certain bits may have been cut, but overall this extended version is a wholly engrossing film that holds up very well today. A must see for any sci-fi fan or film aficionado.