After the visual fireworks of Sunrise and the now-lost splendour of 4 Devils, F.W. Murnau turned his attention to this vivid, painterly study of an impulsive and fragile marriage among the wheatfields of Minnesota.
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Murnau was right to fear intertitles late in his career; City Girl contains some of the dopiest. Murnau isn't suited to the cutie-pie humor of the first act, and the film rarely gives him a trademark moment where he could make celluloid feel like one of the Elements. But there's an interesting take on how "city" and "country" folk aren't too different, and it fuels auteur theorists by elevating wonky melodrama.
This has to be my favourite film by Murnau. It seems almost impossible, but I truly believe that City Girl breathes the same or even more romanticism than Sunrise. I can't remember the last time that I was so engaged in the character's circumstances and deeply cared about their destiny as though it was mine.
Avant-dernière réalisation de Friedrich Wilhelm Murnau qui connut bien des déboires attisés par les fréquentes mésententes entre le réalisateur et William Fox, le producteur qui demanda même à un vague tâcheron, un certain Adolf F. Erickson, de terminer les prises de vue, imposant ultérieurement des dialogues synchronisés, avec comme conséquence, le rejet de l'œuvre dans les oubliettes. www.cinefiches.com