| Photos (See all 14 | slideshow) |
| George O'Brien | ... | The Man | |
| Janet Gaynor | ... | The Wife | |
| Margaret Livingston | ... | The Woman From the City | |
| Bodil Rosing | ... | The Maid | |
| J. Farrell MacDonald | ... | The Photographer (as J. Farrell McDonald) | |
| Ralph Sipperly | ... | The Barber | |
| Jane Winton | ... | The Manicure Girl | |
| Arthur Housman | ... | The Obtrusive Gentleman | |
| Eddie Boland | ... | The Obliging Gentleman | |
| rest of cast listed alphabetically: | |||
| Herman Bing | ... | Streetcar Conductor (uncredited) | |
| Sidney Bracey | ... | Dance Hall Manager (uncredited) | |
| Gino Corrado | ... | Manager of Hair Salon (uncredited) | |
| Sally Eilers | ... | Woman in Dance Hall (uncredited) | |
| Gibson Gowland | ... | Angry Driver (uncredited) | |
| Fletcher Henderson | ... | Performer - Song: 'Tozo' (uncredited) | |
| Thomas Jefferson | ... | Old Seaman (uncredited) | |
| Bob Kortman | ... | Villager (uncredited) | |
| F.W. Murnau | ... | Dancer (uncredited) | |
| Barry Norton | ... | Ballroom Dancer / Kissing Couple (uncredited) | |
| Robert Parrish | ... | Boy (uncredited) | |
| Sally Phipps | ... | Ballroom Dancer / Kissing Couple (uncredited) | |
| Harry Semels | ... | Carnival Gallery Man with Pig (uncredited) | |
| Phillips Smalley | ... | Head Waiter (uncredited) | |
| Leo White | ... | Barber (uncredited) | |
| Clarence Wilson | ... | Money Lender (uncredited) | |
Directed by | |||
| F.W. Murnau | |||
Writing credits | ||
| Hermann Sudermann | (original theme "Die Reise nach Tilsit") | |
| Carl Mayer | (scenario) | |
| Katherine Hilliker | (titles by) and | |
| H.H. Caldwell | (titles by) | |
Produced by | |||
| William Fox | .... | producer (uncredited) | |
Original Music by | |||
| Willy Schmidt-Gentner | |||
| R.H. Bassett | (Los Angeles premiere) (uncredited) | ||
| Carli Elinor | (Los Angeles premiere) (uncredited) | ||
| Erno Rapee | (New York premiere) (uncredited) | ||
| Hugo Riesenfeld | (1928) (uncredited) | ||
Cinematography by | |||
| Charles Rosher | (photography) | ||
| Karl Struss | (photography) | ||
Film Editing by | |||
| Harold D. Schuster | (uncredited) | ||
Art Direction by | |||
| Rochus Gliese | (uncredited) | ||
Makeup Department | |||
| Charlie Dudley | .... | makeup artist (uncredited) | |
Second Unit Director or Assistant Director | |||
| Herman Bing | .... | assistant director (uncredited) | |
Art Department | |||
| Don B. Greenwood | .... | property master (uncredited) | |
| Alfred Metscher | .... | assistant art director (uncredited) | |
| Edgar G. Ulmer | .... | assistant art director (uncredited) | |
| Gordon Wiles | .... | art department head (uncredited) | |
Special Effects by | |||
| Frank Williams | .... | special effects (uncredited) | |
Camera and Electrical Department | |||
| Hal Carney | .... | assistant camera (uncredited) | |
| Frank Powolny | .... | still photographer (uncredited) | |
| Stuart Thompson | .... | assistant camera (uncredited) | |
Music Department | |||
| Maurice Baron | .... | orchestrator: Erno Rapee score (uncredited) | |
Other crew | |||
| William Fox | .... | presents | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb top 250 movies | IMDb Drama section |
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SUNRISE is easily the greatest film made in the silent era. Murnau's story (or filmed poem, according to the credits) is about a troubled farmer (George O'Brien) and his secret girlfriend (Margaret Livingston) plotting to murder his wife (Janet Gaynor, possibly the sweetest, most likable adult character in film history!) The storyline, the dark, moody photography, the creepy sets (especially that swamp!) makes you think this will be a thriller with an unhappy ending, much like AN AMERICAN TRAGEDY. About half-way through the film, Murnau pulls such a daring 180 degree turn with his film, you'll shake your head, and will love it. I doubt film-makers today would try for such a daring move!
It is shame that Murnau died middle aged in 1931. Had he of lived another 30 years, and made films up until the age of Cinemascope, looser censorship, 60's technology, what great films we would have.