Murnau’s most baroque work - an instance of the director working both within maximalism and in examination of maximalism as well. It's opening and closing moments are Murnau at his most melodramatic - but everything in between is him at his most inquisitive. It's constantly stimulating to watch - shards of light blasting in from everywhere possible, constant smog, and some of the most haunting poses and faces in movies. This is what makes this film so interesting - rather than level the usage of these effects for simple sensory response, (ala, say, Walsh's Thief of Bagdad) Murnau appears to use these effects for the purpose of dialectic with the story - in turn becoming a critique of the trickery…

Every moment in this film offers some of the most breathtaking shots I've ever seen. The scale and use of light and shadow are simply jaw-dropping throughout, and not just for the time period in which it was released, but for cinematography that would be outstanding now. A narrative that defies all boundaries, a masterwork in merely visual storytelling. This is a true testament to the visual power of film and the value it can deliver. The extent to which film has degraded in its ability to deliver a great visual story is astounding. Evidently, 90% of new releases now lack the understanding that film is a visual medium, resulting in so many projects that are completely lifeless and bland.…

There are not many works of silent cinema that have managed to condense, with such visual virulence and symbolic sophistication, the metaphysical dilemmas that underpin the human condition. From the first frames, of liturgical brilliance, the spectator is immersed in a spiritually and visually dense atmosphere that immediately announces a cosmic confrontation: the eternal struggle between good and evil, between spirit and flesh, between fate and free will. The opening, a true cinematographic hierophany, in my opinion, is one of the most sublime moments of German Expressionism, not only for its technical and compositional precision, but above all for its ability to invoke horror and ecstasy in equal measure.

The prologue, conceived as a theater of invisible forces, presents a…

Speaking of special effects in old films, this is a masterpiece of double exposure, miniature/oversized scale effects, costuming, shadows, and props/sets. From the archangel with its white costume, great sword, and heavenly backdrop to the Bald Mountain sequence to the ghostly moments when Mephisto interferes with things, every piece is a stunning achievement. The tale is older than dirt, and the plot isn't particularly engrossing. But the execution is more than can be taken in. If I had this on my drive instead of via disk, I'd screencap it.

What struck me early on is that while it's a religious tale, it really sets up a solid critique of utilitarianism. Is it worth doing good (as Faust initially attempts to…

This review may contain spoilers.

German expressionism pioneer F.W. Murnau’s Faust is so far amongst the strongest of the early movement that I have seen because the vision is striking and the end result is an epic piece of cinematic art. The production design is spectacular, performances are as commendable and the music, haunting but beautiful. Faust is not a perfect movie in my mind, nevertheless, it is worth your praise because cinema wouldn’t be where it is without Murnau’s efforts.

The story of Faust comes from a classic German legend about the titular character’s internal struggle with himself despite being honored, and dissatisfied, he sells his soul to the devil to gain unlimited knowledge and enjoy the pleasures of…

F.W. Murnau's "Faust" is often labeled one of the greatest horror films of the silent, if not any, era. "Faust," however, is more than a horror film, and categorizing the film in one genre box may sell it short. The film combines primitive horror conventions with those of the fable and fairy tale. Regardless of its true genre, the classic story of a man who trades away his soul for earthly pleasures is brought to life by Murnau with haunting imagery and classic storytelling devices.

The story has been told for centuries in a variety of forms, but, here, Murnau tells the classic, allegory-free "Faust." An angel and devil wager for the good of mankind with aged alchemist, Faust, caught…

***One of the best 150 films I have ever seen.***

F.W. Murnau is officially one of the greatest filmmakers of all time and is one of the directors that majestically created and popularized the horror genre in German filmmaking just after the films Des Student von Prag (1913), Das Cabinet des Dr. Caligari (1919) and Nosferatu, eine Symphonie des Grauens (1922) were created, giving birth to the beautiful and extraordinarily artistic German Expressionism. Murnau directed this astonishingly unique feast to the senses just after he had incredible cinematographic success with one of the greatest dramas ever made: Der Letzte Mann (1924). However, not even the artistry and supernatural mastery that German auteurs had implemented through the films by that time…

1001 movies you must see before you die (Ranked)

Watching 1 movie from every single year
Started:1892 Year:1926

Ah watching one of the “greatest” films ever made 100 years later on YouTube. Just as god would’ve wanted. 

I’ve heard quite literally nothing but exceptional things about this film so I really hope it lives up to 

And technically speaking it did not disappoint at all. It is BY FAR the best cinematography, sets, costumes best everything. 
I think the thing that stands out most to me by far is the use of both shadows and lighting, it really creates such a dreamlike atmosphere which did nothing but enhance the supernatural elements. 
Of which surprisingly felt very real. The first scene…