Tabu: A Story of the South Seas

South Seas dramas down through the decades have involved a lovely woman with one layer of scanty clothing, and a man who is chiefly attired in bronzed muscles. Both are Rousseauian children, taking rapturous joy in carnality and in their sun-light surroundings. Invariably they run afoul of the hungry island gods, rapacious white man, or combination of both. It's a genre done in John Ford's "Hurricane" and other movies with Dorothy Lamour; "Bird of Paradise" with Debra Paget; the various "Blue Lagoon" movies; up to the 1980's little seen "Beyond the Reef."

This one has one thing distinguishing itself from the others - the cast is all actually Polynesian, or partly so (sorry Dorothy). It does bring in the common troubles of indigenous peoples: wanting to escape their stifling tribal atmosphere, they have a hard time coping with the outside world's currency economy and alcoholic drink. The movie eschews the Hollywood ending. Anne Chevalier is a treat, and a climatic moment late in the movie is directed for maximum shock.

The cinematography of this film puts most modern films to shame. You don't even notice it is a silent film because every scene is self-explanatory and needs little or no dialogue. The actors were great considering they were not professionals. The direction is superb. This is a must see film; silent or otherwise.

People with prejudice against silent films should see "Tabu"; it´s a masterpiece of cinema. The storyline is superb, a struggle not between good and evil, but between human will and fate; there´s a beautiful love story of natives of the South Seas, mystery and suspense; and, to boot, some of the most wonderful sights you´ve ever seen in a b&w flick. The anthropological genius of Robert O´Flaherty, and the creativeness of F.W. Murnau cannot be denied; this is the meeting of two movie titans.

There has never been another film like "Tabu". This is a unique blending of ethnographic documentary and expressionist drama, from two directors who were masters of these forms.

The actors are real Polynesians and their ceremonies and rituals are faithfully captured, and interwoven with a tragic love story. The cinematography deservedly won an Oscar - it is truly beautiful. Murnau, away from his usual studio sets, manages to create the same sense of danger using natural light - especially moonlight - and real locations.

The performances are very strong - especially Chevalier as the girl, and the old man is as scary as Nosferatu as he haunts her dreams at night.

Sadly this was Murnau's last film - he died in a car crash just before the premiere. It is a little dramatically uneven, and certainly not the masterpiece that "Sunrise" is, but it is still very worthwhile.

For discerning fans of classic filmmaking, the surviving work of director F.W. Murnau remains some of the most significant and stunning of the silent era. Filmed entirely in Tahiti, `Tabu' would prove to be Murnau's last film (he died in a tragic car accident on March 11, 1931, just weeks before the film's premiere) and most unusual - he actually collaborated with director Robert Flaherty (`Nanook of the North') in this tale of two doomed lovers that unintentionally transports `Romeo and Juliet' into the South Pacific. Unlike his landmark expressionist titles such as `Nosferatu' and `Faust,' Murnau's `Tabu' is set mostly outdoors and features dazzling images of beautiful young native men and women at home in their Polynesian paradise in the first part of the film, with haunting images used to chronicle tragedy and paradise lost in the second half of the 81 minute classic.

Although no members of the cast were professional actors, the performances by Matahi (as a young pearl fisherman) and Reri (as the `tabu' island girl) are moving. More than 70 years after its release, `Tabu' remains essential viewing, and UCLA's restoration of this classic has been a highlight of the schedule of new DVD releases in 2002. In fact, the film's luxurious black-and-white cinematography garnered cameraman Floyd Crosby an Oscar. DVD extras include audio commentary by UCLA Film Professor Janet Bergstrom; outtake footage; theatrical trailer; still gallery; short film titled `Reri in New York.'