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That is the title card with which this iconic silent film opens; a statement about how life doesn't really change based on where you live or what you do. The pleasures and the struggles are the same. Those that live in the farm want to be in the city, those that live in the city crave the life in the country. That is a bit of what kickstarts this romantic drama into gear.
Sunrise follows a humble farmer (George O'Brien) that becomes infatuated with a "woman of the city" (Margaret Livingston) prompting him to leave his wife (Janet Gaynor) one night. Upon meeting with this woman, she convinces him to murder her so he can sell the farm and move with her to the city.
This film was a significant blindspot I had; I didn't even know specifically what it was about, so I was surprised to find out that the premise was a bit darker than I was expecting. I thought that was interesting. Most of what makes the film works happens in the first and the last act, where I think Murnau's direction is more effective. I really liked how well it was shot, the way he moved the camera, and how he staged some scenes where the man imagines himself "doing the deed".
Unfortunately, the film spends a lot of time in the middle act, which follows the man and woman spending the day at the city, going to the games, getting a haircut, buying clothes. I think they could've trimmed all that maybe 10, even 20 minutes. Especially since it dulls the edges of what preceded it.
I also thought the two lead performances were pretty good. Gaynor successfully conveyed the contrast of fear and forgiveness necessary from her character. However, I was particularly surprised by O'Brien, who really transmitted real shame and regret at what he wanted to do. The way he used his eyes and facial expression to do that was remarkable.
Fortunately, after the overlong middle act, things pick up again in the last act as the man has to come again face to face with the "woman of the city", so they can both face the consequences of their plan. I wish that middle act was handled a bit differently, so it could match with the two bookend acts, but I guess sometimes we have to deal with the bitter and the sweet.
Grade:
SUNRISE
A SONG OF TWO HUMANS
(1927, Murnau)
A film from the new Sight & Sound Greatest Films of All Time list whose ranking includes the #1 (#11)
A SONG OF TWO HUMANS
(1927, Murnau)
A film from the new Sight & Sound Greatest Films of All Time list whose ranking includes the #1 (#11)
"Wherever the sun rises and sets, in the city's turmoil or under the open sky on the farm, life is much the same; sometimes bitter, sometimes sweet."
That is the title card with which this iconic silent film opens; a statement about how life doesn't really change based on where you live or what you do. The pleasures and the struggles are the same. Those that live in the farm want to be in the city, those that live in the city crave the life in the country. That is a bit of what kickstarts this romantic drama into gear.
Sunrise follows a humble farmer (George O'Brien) that becomes infatuated with a "woman of the city" (Margaret Livingston) prompting him to leave his wife (Janet Gaynor) one night. Upon meeting with this woman, she convinces him to murder her so he can sell the farm and move with her to the city.
This film was a significant blindspot I had; I didn't even know specifically what it was about, so I was surprised to find out that the premise was a bit darker than I was expecting. I thought that was interesting. Most of what makes the film works happens in the first and the last act, where I think Murnau's direction is more effective. I really liked how well it was shot, the way he moved the camera, and how he staged some scenes where the man imagines himself "doing the deed".
Unfortunately, the film spends a lot of time in the middle act, which follows the man and woman spending the day at the city, going to the games, getting a haircut, buying clothes. I think they could've trimmed all that maybe 10, even 20 minutes. Especially since it dulls the edges of what preceded it.
I also thought the two lead performances were pretty good. Gaynor successfully conveyed the contrast of fear and forgiveness necessary from her character. However, I was particularly surprised by O'Brien, who really transmitted real shame and regret at what he wanted to do. The way he used his eyes and facial expression to do that was remarkable.
Fortunately, after the overlong middle act, things pick up again in the last act as the man has to come again face to face with the "woman of the city", so they can both face the consequences of their plan. I wish that middle act was handled a bit differently, so it could match with the two bookend acts, but I guess sometimes we have to deal with the bitter and the sweet.
Grade: