| 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 | ||
| Carl Mayer | (scenario) | |
| Hermann Sudermann | (from an original theme by) | |
| Katherine Hilliker | (titles) and | |
| H.H. Caldwell | (titles) | |
Produced by | |||
| William Fox | .... | producer (uncredited) | |
Original Music by | |||
| Sheldon Mirowitz | (2011) | ||
| 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 | .... | presenter | |
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| Peyton Place | Madame Bovary | The Good Earth | Madame Bovary | Brokeback Mountain |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb USA section |
This Murnau work comes from the end of the silent era,and the miracle is that it needs nothing:it has everything.There are hardly a dozen of subtitles for a ninety- minute movie,and that's enough.The rest is the actors'sublime performances and Murnau's flawless directing. George O' Brien and Janet Gaynor do not speak,and however,we can hear them,with all our heart ,with all our soul.Their faces reflect what they endure,suffer and enjoy.Because this is not only a drama.Sometimes it turns to a true comedy.For me the scene in the church climaxes the work:the husband,desperate to a fault,and his wife ,who saw her sincere love atrociously betrayed ,"get marry" again and the priest's words will drive you to tears.
Unlike "Nosferatu",which took place in dark places ,and before "tabu" which would be an hymn to the nature -in every sense of the word,and probably the key to WF Murnau's entire canon"-,"Sunrise" is a diurnal movie,beginning with a meeting with the husband and his mistress at the break of dawn,and ending in the deep of the night,but the very last picture brings back sunrise,which epitomizes a new beginning, a new christening,a redemption.And the man ,crying and begging for pardon,it might be Murnau who thought his homosexuality was a crime -Nosferatu might be a metaphor as well,as the hero who abducts a priestess he's in love with in "tabu" -A true auteur opens up in his movies,if we can read between the lines.
Murnau was,along with Fritz Lang,one of the two most influential forces of the expressionism .