In his final film, F.W. Murnau presents the tale of two young lovers on the idyllic island of Bora Bora in the South Pacific. Their life is shattered when the old warrior declares the girl ... See full summary »
In the castle Vogeloed, a few aristocrats are awaiting baroness Safferstätt. But first count Oetsch invites himself.. Everyone thinks he murdered his brother, baroness Safferstat's first ... See full summary »
Lem goes to Chicago to sell the wheat his family has grown on their farm in Minnesota. There he meets the waitress Kate. They fall in love and get married before going back to the farm. ... See full summary »
Wilton, a hunchback, who was always scorned and ridiculed by women, returns from Java a rich man after having discovered a diamond mine. He romances Gina, who is on the rebound from a ... See full summary »
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
The first "dolly" (a device that allows a camera to move during a shot) was created for this film. According to Edgar G. Ulmer, who worked on the film, the idea to make the first dolly came from the desire to focus on Emil Jannings' face during the first shot of the movie, as he moved through the hotel. They obviously didn't know how to make a dolly technically, so they created the first one out of a baby's carriage. They then pulled the carriage on a sort of railway that was built on the studio. See more »
The rope for holding/raising/lowering the trunk is visible as the trunk falls back into the Hotelportier's grasp in the hotel part of the his post-Hochzeit drunken dream. See more »
Der Letzte Mann is nothing short of the epitome of viewing pleasure. Beautifully shot, the urban landscape in which a noble doorman earns his keep (and humanity) is throughout dream-like, infused with a decidedly ethereal quality. Added to a magical visual backdrop is a haunting musical score, highlighted by sweeping cello chords which cut straight to the heart. With regard to prominent themes, the picture speaks volumes about the fragility of human existence and, specifically, human dignity. The shallow and arbitrary nature of a society bent predominantly on the acquisition and elevation of pecuniary wealth, as well as the perseverance of the individual through it all, is illustrated masterfully through both the zenith and nadir of the doorman's existence, as documented in this truly excellent work of the interwar period.
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