I really tried to love this a lot more, unfortunately it went right through me. It was beautifully shot and ahead of its time, but I feel that maybe the restored version I saw spoiled it for me, as it looked nothing like the stills circulating around the web. I can't be blamed for hating the color green.
So fascinating to study the actors & famous expressionist sets in the Murnau Foundation's perfect 2014 restoration (4K). Oddly, the film itself leaves me cold. Am at a bit of a loss regarding its reception... || Seen w. a collectively composed score, played by a chamber orchestra from the Freiburg Conservatory of Music. Competent, but didn't knock my socks off. Must see a copy w. Zorn's organ music from 2014 someday!
The sets and visual atmosphere are extraordinary, and fit very nicely with contemporary artistic movements in other fields. The theatrical style and expressiveness also add hugely to this movie. I'd be interested in others' views about this film's influence on Orson Welles, thinking specifically of the Trial and Othello - having seen both of those films recently it seems to me there was a stylistic progression.
There is a hypnotic quality about Cesare's entrance into the room of Jane, one which draws you into the screen in a way that can only be matched by that close-up on Cesare as he awakens for the 1st time. Although this is undoubtedly a monumental film, it doesn't quite possess the same haunting atmosphere, lyrical beauty or kinetic paranoia of THE STUDENT OF PRAGUE, SUNRISE and DR MABUSE, THE GAMBLER. Eureka release.
The designs are still unique and bizarrely beautiful to this day (like for real Tim Burton does not have shit on this film.) The movie isn't always the most coherent or satisfying film in terms of narrative, but the feel, texture, and style of the film more than make up for it.