Behold! The black banner with white writing shines Gothic letters just three seconds on screen, however, magnificent and contemplates its meaning perfectly sums up the character the Friedrich Wilhelm Murnau interpretation that makes the familiar story of Faust.
It is impossible to imagine the public reaction to mid-twenties had the privilege of seeing a film full of images as striking as Faust, in which Murnau strives beyond the boundaries to create sequences of a power bombastic visual, seen from the film's opening box where horsemen of the apocalypse ride on an increasingly corrupt earth.
As in the cruel biblical story of Job, Satan Faust makes a bet with the sky to prove or negate the value of the principle of freedom choice of man and the existence of love, so that once again the sky takes on the role of observer in a series of catastrophes that unleashes Mephistopheles in order to manipulate the heart of Faust.
In one of the most impressive scenes that have been conceived in German Expressionism, Satan spreads the plague on the city where he works as a doctor Fausto. The despair of not being able to cure this epidemic led him to deny everything, to set fire to their books and invoke the devil, who from that moment begin to play with the fate of Faust to destroy morally.
Like Sunrise, Murnau used to divide the resource tape into thirds, where the first and last have a devastating drama, while the latter serves as a humorous interlude designed to decrease a little emotional pressure to which the viewer is subjected. Unlike Sunrise presented in Faust the second third of the tape can be repetitive and a little long, a situation that is the only palpable error on a tape that would otherwise border on perfection.
Being based on the vision of Goethe's Faust, not the original story of the sixteenth century, redemption is a key aspect of Murnau's film, which brings to fruition the concepts and situations described by Goethe and even maximize the drama with which it concludes the story.
Faust is a film that will always be remembered for its stunning special effects and brilliant camera work of Star photographer Carl Hoffman era, but the film also features the wonderful performances as Faust Gosta Ekman, Camilla Horn Gretchen and Mephistopheles as the always wonderful as Emil Jannings, who four years later be enshrined in Der Blau Engel .
Murnau's work in this film will be one of the biggest milestones in the history of cinema, a work of supreme dedication that innovative talent of this genius overflows completely, amazing, touching and lasting until today.
0 comments:
Post a Comment