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The Last Laugh (1924)

Der letzte Mann (original title)
Not Rated | | Drama | 5 January 1925 (USA)
An aging doorman, after being fired from his prestigious job at a luxurious Hotel is forced to face the scorn of his friends, neighbours and society.

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Cast

Complete credited cast:
...
Maly Delschaft ...
Max Hiller ...
Emilie Kurz ...
Hans Unterkircher ...
Olaf Storm ...
Hermann Vallentin ...
Spitzbäuchiger Gast [Potbellied Guest]
Georg John ...
Nachtwächter [Night Watchman]
Emmy Wyda ...
Dünne Nachbarin [Thin Neighbor]
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Storyline

The experienced doorman at the Atlantic Hotel is quite proud of his position, his responsibilities, and his uniform. One busy, rainy night, he has to take a short rest after lugging a heavy suitcase in from the rain. Unfortunately, his manager comes by during the short time when he is not performing his duties. The next day, when the doorman arrives for work, he learns that he has been replaced as doorman, and has been re-assigned to the less strenuous but purely menial position of washroom attendant. Stunned and humiliated, the old man struggles to carry on with his life. Written by Snow Leopard

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Genres:

Drama

Certificate:

Not Rated | See all certifications »
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Release Date:

5 January 1925 (USA)  »

Also Known As:

The Last Laugh  »

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| (DVD edition)

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Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

According to Alfred Hitchcock, who was working in Germany at the UFA studios at the time of this production, F.W. Murnau had all the street signs, posters and shop signs done in a version of Esperanto. See more »

Goofs

When the porter comes home with the stolen coat, the third button down (which fell off earlier) is still there until a close-up of him at the door. See more »

Connections

Referenced in Deadly Circuit (1983) See more »

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User Reviews

 
Visceral
15 January 2005 | by (Halifax, NS) – See all my reviews

People seem compelled to speak in superlative-terms when talking about the great directors; which film is their greatest, which ones are underrated, etc. But this is a film so simple in its themes, so modest in its methods, that it doesn't lend itself to these labels very easily.

"Nosferatu" was revolutionary, but based on intensity, something that doesn't age very well. Other directors took up this notion of visual intensity (Leni, Boese) but structuralized it, and created the real German Horror masterpieces ("Waxworks," "Golem"). Murnau's discovery came later, with this film. That film narrative wasn't something that you followed linearly, but something you become immersed in. The lack of title-cards is not a gimmick, but a conscious decision not to interrupt the flow of this immersion. Reading is rational (hearing, slightly less so) and prevents this from taking place.

Add a Gogolian tale of aging and dignity, and Murnau makes magic. This is what "touching" and "moving" films should be like.

4 out of 5 - An excellent film


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