A morality play that crumbles beautifully under the weight of its own nuances and idiosyncrasies, as well as its figural implications. Murnau paints with light, shadow, and prolonged gestures in space. We of course wag our finger at Tartuffe's hypocrisy, but Murnau counters that with images of pure, detached feminine sexuality, irresistible. What is morality when space, time, and sex play out like this?
Not Murnau's finest work by a long chalk, but funny and diverting all the same. Some visually striking moments too. A mediocre film by an exceptional film maker is still well worth a watch, just don't expect a masterpiece along the lines of Nosferatu or Sunrise.
Tartuffe's face expressions are a pure delight. And the finger-pointing against religious fanatics and greedy treasure-hunters instead of the (rather typically) frivolous, superficial women/wives even better.
The ever watchable Emil Jannings excels, but otherwise, the murky personal morality play fails to convince, and the ending is altogether too neat. But what a great line: 'to sin in secret is no sin'. I shudder to think how many followed this edict
A bizarre morality fable complete with drunkard fake saints, constant keyhole peeping and writing your will out for any waif or stray who happens to break into your home. On the plus side the Georgian-Victorian period details are rather nice (Elmire's pannier dresses are gorge) but Moliere's original makes this ultimately redundant. Random aside but silent films always make me want to go watch Tom & Jerry instead...
Cine dentro del cine en base a un clásico teatral. Murnau no despliega del todo esa técnica propia del expresionismo. Me atrevería a decir incluso que esta película no precisa ser encasillada dentro de este línea. El juego de sombras existe, más esa carga estridente y anímica de la atmósfera está ausente.