Echoes #9
Dave McDougallA man and a woman share a tender embrace, in two images nearly 80 years apart from films by F. W. Murnau and Anne-Marie Miéville.
A man and a woman share a tender embrace, in two images nearly 80 years apart from films by F. W. Murnau and Anne-Marie Miéville.
Graf Oetsch, suspected of his brother’s murder, arrives uninvited at a hunting party. Why is he here?
A funny thing happened on the way to the weekend. Tim Blake Nelson's Leaves of Grass, with Ed Norton playing twin brothers — the gag being, of course, that they're often both onscreen in the same
A lot of the pleasure of F.W. Murnau's seminal 1927 silent, Sunrise, stems from its fluidity, from Murnau's unfolding mise-en-scene, as if the world peels back with every curve of the camera. The static
Its conditional sexism and the immortal protestations of Oscar expert Tom O'Neil notwithstanding, I think we can all agree that F.W. Murnau's post-Expressionist paean to monogamy and such, Sunrise, is
Above: Emotional distance is spatial distance in F.W. Murnau's The Haunted Castle (1921). Sad, isn't it, to see John Ford and Frank Borzage honored so highly in 2007 and 2008 on home video with a lavish
From City Girl (1930); featuring Charles Farrel, Mary Duncan, Edith Yorke, David Torrence, and
From City Girl (1930); featuring Charles Farrel and Mary Duncan; directed by F.W. Murnau; production design by Edgar G. Ulmer; cinematography by Ernest Palmer
Turning from the grand, sweet allegory of Sunrise: A Song of Two Humans (1927), F.W. Murnau unknowingly had only three more films in him before his tragic, early death. Between that most excellent of
A teasingly beautiful introduction to The Notebook's upcoming coverage of the new DVD boxset, Murnau, Borzage and Fox.From City Girl (1930); directed by F.W. Murnau; production design by Edgar G. Ulmer;