Student Raskolnikow, who has written an article about laws and crime, proposing the thesis, that un-ordinary people can commit crimes if their actions are necessary for the benifit of ... See full summary »
Joe May's sensual drama of life in the Berlin underworld is in many ways the perfect summation of German filmmaking in the silent era: a dazzling visual style, a psychological approach to ... See full summary »
For Balduin, going out to beer parties with his fellow students and fighting out disputes at the tip of the sword have lost their charms. He wants to find love; but how would he, a ... See full summary »
Elizza La Porta,
During a dinner, given by a wealthy baron and his wive, attended by four of her suitors in a 19th century German manor, a shadow-player rescues the marriage by giving all the guests a ... See full summary »
The owner of a Waxmuseum needs for three of his models stories to be told to the audience. For that reason he has hired a writer, who after one look athe owner's pretty daughter, starts ... See full summary »
Orgon is a man of property duped by the false piety of the penniless Tartuffe. Orgon takes him into his house, believing him a paragon of virtue. Orgon orders his daughter to reject her ... See full summary »
When Reverend Robert Henley and his sister Faith arrive in the town of Hell's Hinges, saloon owner Silk Miller and his cohorts sense danger to their evil ways. They hire gunman Blaze Tracy ... See full summary »
Camilla Horn served as Lil Dagover's foot double in this film. This small role effectively launched her lengthy acting career, as she was noticed by director F.W. Murnau and cast as the lead actress in his film, Faust (1926). See more »
This is the fourth Murnau i've seen, after Nosferatu, Sunrise and Faust. I admire the work of Murnau for it's beautiful compositions an camera movement. Murnau is able to translate the mood he want's to set into composition and movement without being artsy for the sake of it.
Tartuffe has quiet a story behind it. Apparently, Murnau was forced by contract to make this film. So this film is to Murnau what Spartacus was to Kubrick. Even though it's still a Murnau picture: again Murnau knows how to give a quiet flat story more depth by suggestion and style. I liked the film, it's hasn't got the outdoors scene's that Sunrise and Nosferatu had, or the huge sets and special effect of Faust, but still it remains an exciting film. Don't hold back by the negative reviewers of the film, this is, by all means, not a bad film. It's just that Murnau made so much breathtaking stuff in his other work, that this film seems not so historical interesting. But if you're a fan of Murnau's other work I'm sure you'll like this as well. Make sure you'll watch the Masters of Cinema edition. It has a great documentary about the making of this film. It gave me a lot of new insights about the film and about Murnau.
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