Cinema as illuminated letters. Magnificently realised allegorical tub-thumping with wonderfully ripe head-held-high dramatics and visual trickery, despite some verbosity and longeurs - notably in the wedding sequence, ravishing though it is. It’s the kind of film that calls out for the reinstating of tabs in cinemas to sweep majestically apart in heraldic announcement. You can practically smell the burnt carbon.
It stands to reason that storytelling on the grandest conceivable scale would be coupled to maximal exploitation of the expressive capabilities of the cinematic medium. I am sure that the majority of the effects here are done in camera, and the fact is that they routinely dazzle. When I was a youngster I enjoyed watching FAUST really, really high. It still strikes me as pretty goddamn psychotropic. A kind of deluge.
Probably a little too unwieldy to be considered a stone cold masterpiece like 'Nosferatu', but it's top-tier with regards to its set design, camera-work, special effects and sheer visual ingenuity! It's incredible that a film a hundred years old based upon a moral tome from the early 19th century can be bloody exciting to watch!
Un film fascinant pour l'incroyable plasticité des formes, les fantastiques décors expressionnistes et les clairs-obscurs envoûtants. Le génie de Murnau et son étonnant sens de la mise en scène y brillent avec éclat et magie, à chaque plan, invariablement. A ce jour, l'adaptation la plus impressionnante du mythe faustien. Un inconditionnel et inoubliable chef-d'oeuvre du cinéma muet... www.cinefiches.com
I know it's a crime, but oh well. The haunting premise is very interestingly exposed. Human emotion is beautifully portrayed, such as the urgency of Faust's entrancing stare, with a great use of light and darkness. Mephisto is fantastic and Aunt Marthe is joyously funny, but they're the only ones bringing interest to the dreary romance, which takes up most of the movie and doesn't allow me to resonate with it.
per rimarcare che quello di svankmajer fa cacare e solo chi non ha letto l'opera di mann, e ha percepito male quella di goethe (il resto dei riferimenti non sto manco a citarlo dato che le altre opere puntano su altre questioni, basta pensare a Marlowe), può dare credito a quello stupro, ma anche chi, semplicemente, è un povero idiota senza speranze che non si salva dalla miseria e di cui, magari, è pure fiero
S'éloignant de Goethe, qui n'a du reste pas inventé le personnage, Murnau donne à voir le personnage sans les à côtés un peu cryptiques de la pièce. Si c'est un peu cucul, les prouesses techniques et visuelles pour l'époque le rendent admirables. Plus encore, on s'aperçoit que toute la spécificité de Murnau, réside dans la capacité de créer de véritables TABLEAUX cinématographiques. Une fresque mouvante incomparable.
It was his last film made in Germany (before going off to Hollywood to make Sunrise,) a loose adaptation of the dramatic poem, incorporating elements from the puppet plays that Goethe drew upon. Indeed, there’s a distinct puppet like quality to Camilla Horn movements as Gretchen, especially after branded a harlot, lurching about in a trance. Murnau crafted an unreal yet elaborate medieval world for his marionettes.
The imaginative visuals and cinematography can be quite interesting, despite the film's narrative predictability. From the first moment of the wager it seems the film's conclusion is obvious. However, what is most interesting is not Faust himself, but Gretchen, who is summarily paralleled with both the Virgin Mary and Christ, all with an undertone of criticism of the hypocrisy of those who choose not to forgive.
Murnau is one of the masters of the craft and should always be held with reverence. Unfortunately, this film does not capture the spirit as some of his other films were able to. Struggling with a religious and moral such as Faust does within this film, does not translate to film easily. There are brilliant aspects to this film, largely the visual effects. Despite the visual appeal, the film falls short of greatness.
One of the greatest films from one of the greatest directors, Murnau's Faust holds up exceptionally well. Hugely innovative in 1920's visual effects, this classic tale is magically told here. Traditional silent film overacting balances well with the use of silence.
Faust has a splendiferous beard. Also, it's amazing how much better the effects are compared with CGI effects in today's movies. Less is always more. The imagination is perfectly capable of filling in the blanks. The music ruined my enjoyment of this print though. It sounded like the saccharin music pounded out for ballet exercises. This majestic film deserves a score in keeping with its stylistic visual tone.