Sunrise: A Song for Two Humans (1927)
Sunrise: A Song for Two Humans (1927)
As a film student, it’s important to understand all aspects of film history. The era I was…and still is most unfamiliar with is the period of silent films. Honestly, they really never appealed to me. After my viewing of 1927’s Sunrise: A Song of Two Humans, I want to see more silent films to truly appreciate this era. I really enjoyed this film very much so. While I do not consider it a masterpiece on my initial viewing, there are many artistic values this film provides. Thanks to fantastic and ground-breaking cinematography, amazing performances (Janet Gaynor comes to mind), and smooth direction from F.W Murnau.
This film came out at an era where silent films were near their death because of the advent of sound. In fact, The Jazz Singer, which is the first sound film, was released in theaters around this time. The film does make use of a somewhat ominous score that fits very well with the movie. While not a box office success, Hollywood knew they had something majestic and powerful on their hands. At the inaugural Academy Award ceremony, this film actually won Best Unique and Artistic Production thus tying it with Wings for Best Picture. The Academy later motioned that Wings is the sole best picture winner. That said, even though silent films were dying, it’s often noted that the best of them were released around this time period. Sunrise is considered one of the best silent films ever made.
This film came out at a time period where German Expressionism was very popular. World War l gave birth to these sort of films. Films that looked towards the future. These films also used inventive camera angles, futuristic and majestic set designs, and usually incorporated themes such as betrayal, madness, and insanity. These aspects can be seen this is particular film to good effect. F.W Murnau is one of the movement’s leading directors. William Fox, the head of 20th Century Fox, recruited Murnau’s talents to make an Expressionist film for Hollywood. If Murnau sounds familiar to you, that is because he directed one of the most popular vampire films of all time, Nosferatu.
In this particular film, the characters are not given actual names. They are named “The Man” or “The Woman.” The reason why these characters are not given names is due to symbolism. After all, this film has been described as an allegory. The movie begins with The Man (George O’Brien) having an affair with The Woman from the City (Margaret Livingston). This woman convinces him to drown his wife, The Woman (Janet Gaynor) so they can live happily ever after. When the time comes to perform the murder, The Man cannot bring himself to do so. After fearing for her life, The Woman forgives her husband for his terrible deeds. But a tempest may soon change the fate of this couple.
The performances are one of the strongest suits of the film. I was very impressed with Janet Gaynor, who actually resembles Drew Barrymore, in my opinion. Great acting does not need dialogue. The expressions say it all and Gaynor was masterful in that department. Her character is one of those innocent types, so her looks of sadness, betrayal, fear are masterfully displayed. George O’Brien, known for his tough westerns, is given a change of pace given the romantic setting. I think he performed admirably. Gaynor took home Best Actress in 1927 due to her three films that year, but I believe this film pushed her over the edge.
I must give Sunset props. I was enthralled from start to finish. The themes of betrayal and insanity are seen throughout which gives the film a darker overtone. But symbols of hope pop up throughout. When the two leads venture into the city (which looks hopeful and futuristic) or the ending of the film can lead you down that path. I did have an issue that lingered for quite some time. The wife was almost murdered, and she realizes it, so why was she so quick to forgive her husband? They acted like newlyweds in the city (which takes place after the attempted murder), so it just felt a bit head-scratching. That said, I did enjoy what Murnau was trying to tell us.
Murnau created an unforgettable movie in his American debut. He was able to make the cameras “fly” for the first time. Prior to this film, camera movement did not exist much due to the camera’s weight. Murnau was able to change the landscape in terms of camera movement. I am astonished what the production crew was able to achieve in terms of the technical aspects. The film, even in its now advanced age, is a beauty to look at. Story scrabbles aside, Murnau, O’Brien, and Gaynor created one of the better silent films that exists today and if you like movies, check out this piece of film history.
My Grade: B+
As a film student, it’s important to understand all aspects of film history. The era I was…and still is most unfamiliar with is the period of silent films. Honestly, they really never appealed to me. After my viewing of 1927’s Sunrise: A Song of Two Humans, I want to see more silent films to truly appreciate this era. I really enjoyed this film very much so. While I do not consider it a masterpiece on my initial viewing, there are many artistic values this film provides. Thanks to fantastic and ground-breaking cinematography, amazing performances (Janet Gaynor comes to mind), and smooth direction from F.W Murnau.
This film came out at an era where silent films were near their death because of the advent of sound. In fact, The Jazz Singer, which is the first sound film, was released in theaters around this time. The film does make use of a somewhat ominous score that fits very well with the movie. While not a box office success, Hollywood knew they had something majestic and powerful on their hands. At the inaugural Academy Award ceremony, this film actually won Best Unique and Artistic Production thus tying it with Wings for Best Picture. The Academy later motioned that Wings is the sole best picture winner. That said, even though silent films were dying, it’s often noted that the best of them were released around this time period. Sunrise is considered one of the best silent films ever made.
This film came out at a time period where German Expressionism was very popular. World War l gave birth to these sort of films. Films that looked towards the future. These films also used inventive camera angles, futuristic and majestic set designs, and usually incorporated themes such as betrayal, madness, and insanity. These aspects can be seen this is particular film to good effect. F.W Murnau is one of the movement’s leading directors. William Fox, the head of 20th Century Fox, recruited Murnau’s talents to make an Expressionist film for Hollywood. If Murnau sounds familiar to you, that is because he directed one of the most popular vampire films of all time, Nosferatu.
In this particular film, the characters are not given actual names. They are named “The Man” or “The Woman.” The reason why these characters are not given names is due to symbolism. After all, this film has been described as an allegory. The movie begins with The Man (George O’Brien) having an affair with The Woman from the City (Margaret Livingston). This woman convinces him to drown his wife, The Woman (Janet Gaynor) so they can live happily ever after. When the time comes to perform the murder, The Man cannot bring himself to do so. After fearing for her life, The Woman forgives her husband for his terrible deeds. But a tempest may soon change the fate of this couple.
The performances are one of the strongest suits of the film. I was very impressed with Janet Gaynor, who actually resembles Drew Barrymore, in my opinion. Great acting does not need dialogue. The expressions say it all and Gaynor was masterful in that department. Her character is one of those innocent types, so her looks of sadness, betrayal, fear are masterfully displayed. George O’Brien, known for his tough westerns, is given a change of pace given the romantic setting. I think he performed admirably. Gaynor took home Best Actress in 1927 due to her three films that year, but I believe this film pushed her over the edge.
I must give Sunset props. I was enthralled from start to finish. The themes of betrayal and insanity are seen throughout which gives the film a darker overtone. But symbols of hope pop up throughout. When the two leads venture into the city (which looks hopeful and futuristic) or the ending of the film can lead you down that path. I did have an issue that lingered for quite some time. The wife was almost murdered, and she realizes it, so why was she so quick to forgive her husband? They acted like newlyweds in the city (which takes place after the attempted murder), so it just felt a bit head-scratching. That said, I did enjoy what Murnau was trying to tell us.
Murnau created an unforgettable movie in his American debut. He was able to make the cameras “fly” for the first time. Prior to this film, camera movement did not exist much due to the camera’s weight. Murnau was able to change the landscape in terms of camera movement. I am astonished what the production crew was able to achieve in terms of the technical aspects. The film, even in its now advanced age, is a beauty to look at. Story scrabbles aside, Murnau, O’Brien, and Gaynor created one of the better silent films that exists today and if you like movies, check out this piece of film history.
My Grade: B+
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