In "Sunrise" Murnau combines two themes that he would revisit in later films. The difference between the city and the countrysite is also the theme of "City girl" (1930). The endangered romance of "Sunrise" has become the doomed romance in "Tabu" (1931) four years later.
"Sunrise" was the first American film of Murnau. The American industry had come to the conclusion that as an industry they were unbeatable, but as artform they could still learn something from Europe and especially Germany with its expressionist directors. With "Sunrise" Fox studio's got what they asked for, a brilliant movie that however did not perform well at the box office. It is interesting to see how in "Sunrise" Murnau is standing with one leg in the Unites States while the other is still in Germany. The big city is very American while the farming village reminds of his "Faust" (1926) movie.
"Sunrise" consists of three parts. In the first part "the man" ("Sunrise" has "generic" characters without a name) is seduced by "the woman from the city". This part is like a film noir avant la lettre, including the typical femme fatale ("the woman from the city"). Noteworthy is the opposition between "the woman from the city" and "the wife" (played by Janet Gaynor in an Oscar winning role). "The wife" is an icon of kindness and virtue. Some reviewers compared this character to the "Gretchen" character in "Faust", and not without reason. In part 2 "the man" and "the wife" reconcile after the affair of the man and in effect marry for the second time. After that they have a good time in the city. This part is pure romance. Part 3 is tragedy turning into a fairy tale. I especially liked the fairy tale ending when we see the "woman from the city" return home. Her evil plans have ultimately failed.
Many reviewers have already noticed that "Sunrise" is a brilliant movie based on a very meager and sentimental story. There are multiple reasons for this. In the first part (which I personally like the best) it is the mood that Murnau creates. The swamp in which "the man" and "the woman from the city" meet symbolises the danger the man is lured into. Also the editing between "the man" and "the woman from the city" kissing in a state of delight and "the wife" and her baby hugging in a state of despair is real fine. Notable of the second part is above al the cinematography. Long before the handheld and the steadycam the camera is very mobile and in so doing visualises the dynamism of the big city.
"Sunrise" was the first American film of Murnau. The American industry had come to the conclusion that as an industry they were unbeatable, but as artform they could still learn something from Europe and especially Germany with its expressionist directors. With "Sunrise" Fox studio's got what they asked for, a brilliant movie that however did not perform well at the box office. It is interesting to see how in "Sunrise" Murnau is standing with one leg in the Unites States while the other is still in Germany. The big city is very American while the farming village reminds of his "Faust" (1926) movie.
"Sunrise" consists of three parts. In the first part "the man" ("Sunrise" has "generic" characters without a name) is seduced by "the woman from the city". This part is like a film noir avant la lettre, including the typical femme fatale ("the woman from the city"). Noteworthy is the opposition between "the woman from the city" and "the wife" (played by Janet Gaynor in an Oscar winning role). "The wife" is an icon of kindness and virtue. Some reviewers compared this character to the "Gretchen" character in "Faust", and not without reason. In part 2 "the man" and "the wife" reconcile after the affair of the man and in effect marry for the second time. After that they have a good time in the city. This part is pure romance. Part 3 is tragedy turning into a fairy tale. I especially liked the fairy tale ending when we see the "woman from the city" return home. Her evil plans have ultimately failed.
Many reviewers have already noticed that "Sunrise" is a brilliant movie based on a very meager and sentimental story. There are multiple reasons for this. In the first part (which I personally like the best) it is the mood that Murnau creates. The swamp in which "the man" and "the woman from the city" meet symbolises the danger the man is lured into. Also the editing between "the man" and "the woman from the city" kissing in a state of delight and "the wife" and her baby hugging in a state of despair is real fine. Notable of the second part is above al the cinematography. Long before the handheld and the steadycam the camera is very mobile and in so doing visualises the dynamism of the big city.