فاوست

Like Breaker Morant, I'm a pagan; and, for starters, I find the volcano-worshipping mythology of the Middle East extremely difficult to swallow. Impossible, in fact. See Freud. Moreover, it is unbelievable to me that this film gets 8.1 stars. I agree with one of the critics here that, for any rational viewer, it's just so much nonsense, spread over 115 minutes -- at least, on the version I saw (one of five). It may be a must-see for fans of silent films. However, I include myself out.

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source: Faust

Moviecut—Faust

Faust: Eine deutsche Volkssage

The demon Mephisto (Emil Jannings) wagers with God that he can corrupt a mortal man's soul. Apparently, director F.W. Murnau wanted Lillian Gish to play Gretchen, but she insisted that the film be shot by her favorite cinematographer, Charles Rosher. Murnau instead cast newcomer Camilla Horn, whom he had met on the set of "Tartuffe" (1925), where she was a double for Lil Dagover. Now, I would much rather have seen Gish or Dagover in this role, but Horn holds her own and makes a mark on German film history. The imagery is what sells this film: from the beginning with the creepy four horsemen, to Mephisto unleashing the plague, and beyond. The story is a classic (I mean, this is Goethe we are talking about) but it is even more classic because of the way Murnau was able to present it in 1926, a time when special effects were in their infancy. The only unfortunate this is that Karl Freund had to drop out, as this would have been yet one more classic film to put on his resume.

The definitive "Faust" adaptation. The movie is full of iconic imagery, great expressionist scenes and great acting especially from Gösta Ekman as Faust and Emil Jannings as Mephisto himself. Camilla Horn also impresses in the female part. The giant wings of the Angel of Darkness embracing the city is a impressive unforgettable image. A very satisfying film.

FW Murnau's 'Faust', made in Germany, is a wonderful film. The version I saw had a beautiful piano accompaniment, which certainly helped, but any musical accompaniment would do just as well. Emil Jannings' performance as Mephistopheles is just superb - mocking, playful, frightening. Camilla Horn and Wilhelm Dieterle (who later became a respected Hollywood film director) are also good value as the sister and brother who fall foul of the young Faust's amorality. The film is funny, moving, and effective. It looks stunning, it is like having a dream which assaults the senses at every turn. A true gem which I would recommend anyone to see.

I was so intrigued with this film. Taking the classic story of the man who sells his soul (initially to benefit humanity). Playing with shadows and religious symbols. Using Emile Jannings "Mephisto" as a three dimensional character, even comedic at times. I think what I like the most was how the middle ages, with the day to day cruelty of pestilence and want, unfolded. Murnau also did some sensational visuals--the apocalyptic visions, the spectre of Satan enshrouding the city, bringing the plague. The character of Faust and his failure to gain love--even though he bargained it away--is very poignant. Faust wants youth but has made a pact. If there is a shortcoming, Faust's debauchery is almost entirely off screen and Mephisto performs all the visible cruelty. The reclamation of the soul needs a little more to pair against. Of course, in many of the Faust presentations, he pays the ultimate price and is not able to repent.

My first silent film lasted over two hours. Dialog full of screens after everything's been said. To be honest, I was surprised at how there was never a point of down, there was never a realization that I was watching a silent film, though it did take a bit of getting used to in the beginning. Some might get pushed away due to the fact that the screen transfer isn't great, or that the music has been recently dubbed, but I found it all to fit perfectly. The acting in this film is more than over expectation, that made me believe in the story from start to finish. By the end I had a new found admiration for the makers of movies from our past, and what standards they can set for movies now.