Review of Sunrise (1985) by Andrew R — 23 Aug 2012

The more I watch, the more I realize the loss of silent cinema. Arr.....Silent cinema, the beginning of the developments towards the cinematic notions that define our movies presently. An era that contained the greats, such as Griffith, Chaplin, Keaton, Eisenstein and Murnau. Murnau 'Sunrise: a song of two humans' represents a monumental touchstone in cinema history, as the film practically defined the concepts of cinematography and displayed a grandeur vision of special effects that are still impressive presently. Once watching 'Sunrise', it's difficult to imagine the impression that cinema-goers felt in 1927, as the film must of been surrealistic on it's initial appearance, especially from it's ability to transcend the natural landscape due to the brilliant cinematography. 'Sunrise' elevated itself among other silent films due these innovative groundbreaking processes, representing the pinnacle of imagination, while conversely exploring the boundaries and power of cinema. Furthermore besides the cinematography, 'Sunrise' displays a poignant love tale about the fragility of love, reflects the nature of modern cynical emotions and displays the ability of humans to offer forgiveness.

The opening sequence, similar to Chaplin 'Modern Times', depicts the new world, the development of modernism through the rapid growth in cities areas and industrial innovation. Murnau uses modernism to reflect the the new characteristics that were becoming embedded in human nature, particularly cynical attitudes that replaced a true form of love. This is displayed through the 'man' and the 'wife' marriage, as the man is having an a affair with 'the woman from the city', who ask the husband to drown his wife so that he can live in the city with her. 'the women from the city' reflects these cynical attitudes found in the upper class, as she is dressed in black, obviously representing a sinful notion. Furthermore, the scene is juxtaposition with the grieving wife, who feels that her husband is unfaithful. Through this scene, we are treated to the first example of the astonishing cinematography, as the camera creates a transition of the natural landscape from nature to the city, which is simply amazing. It's quite obvious, through this introduction, that Murnau is highlighting the motivations of greed and avidity, as 'the woman from the city' wants 'the man' for self indulgence, not the true form of love that 'the wife' displays.

The husband agrees to the notion of killing his wife, however he is tormented buy such a decision, an once again Murnau beautifully reflects this through an amazing shot that presents 'the woman from the city' as a doppelganger of the man that represents a form of evil, a demon if you will, that clutches onto his soul, his heart and his love. The man tells his wife that will go on a outing across the river. The wife is filled with joy, as she believes that her husband shares a interest in her again, however the wife eventually realizes the man motivations, and becomes filled with sorrow. Once they arrive on the shore, the man pleads for redemption. This sequence highlights the motivations of greed and the regretful notions that it's causes. Furthermore, the ability of both the leads to create melancholic emotions through only their facial expressions is amazing.

As the husband pleads for salvation, the couple board a tramp that transcends from the natural landscape into the urbanized landscape. In the city, they go to a church where a couple are getting married. The sequence that follows is beautifully poignant, as the man breaks into tears as he is idealizing the true forms of love. Under the sacred forms of the church, the wife forgives the man. The couple rejoice in their new love and leave the church. Murnau next shot displays the pinnacle of cinematography, as the couple disperse into their own imagination of happiness, they become symbolically elevated, time and reality cannot touch them. However their moment of joy becomes short lived due to the inference of modernist aspects. Besides the technical brilliance in this shot, Murrain also displays, in a sense, his view of certain spheres, particular the on going battle between natural landscapes and urbanized landscapes. It seems that the natural represents a sense of purity, whereas the urbanized represents degrading notions. As the couple continue through the city they are treated to different characters.

As I previously noted, this film is truly where the camera itself gained a life of it's own. Munrau shots unhinged the boundaries of cinematic potential, which is at it's most evident during the carnival scene, particularly the opening shot the descends from a spinning wheel into a glorious tracking shot that is elevated above the natural human position, as the shot glides through the air, similar to a bird, and the shot that creates their love with religious connotations. After their adventures at the carnival, the couple board a trolley to come home, however a holy unnatural storm destroys their boat, which leads the man to concluding that his wife is now dead. Through the entire film there have been many hints at religious innuendo, particular on the concepts of sin and salvation. While this point is purely subjective, the storm represents God's intervention, his punishment on the man for attempting to act sinfully. From this intervention, the man nearly murders the woman from the city, however his wife is still alive and they rejoice in their happiness and the modernist leech, the woman from the city, leaves their town and the sun rises. Symbolically displaying that the natural landscape represents blissful aspects, whereas the urbanized does not.

F.W Murnau was simply a genius as a director. 'Sunrise' displays a film that was ahead of it's time and still presently encapsulating. Similar to 'Nosferatu', Munrau displays technical brilliance through his unnatural camera movements. Furthermore, 'sunrise' is a poignant tale of love, conveyed with brilliance from it''s two lead actors.