Sunrise - A Song of Two Humans (Limited Edition)
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Actor: George O'Brien, Janet Gaynor, Margaret LivingstonDVD: Region Code 1
Format: Black & White
Running Time: 95 minutes
Studio: 20th Century Fox
DVD Reviews of Sunrise - A Song of Two Humans (Limited Edition)
DVD Review: Beautiful and Eloquent
Summary: 5 Stars
This beautiful painting of the joy and light found in a marriage during an hour so dark the external storm threatens one life while an internal one threatens the very soul of the other is today considered a cinematic masterpiece. William Fox made some excellent decisions regarding both the making and distribution of this film which often, and quite unfairly, get chided by critics rolling their eyes heavenward in delight at the mere mention of director Murnau's name, with whom a long love affair has been in play. While his artistic genius can be felt in Sunrise, a few directorial flourishes do not work. The artistic framing of light and space to mirror the sentimental love story haunted by darkness is magnificent. The insertion of expressionism is awkward in a couple of spots, however, as if a great artist painting a masterpiece in muted tones had suddenly decided to add a splash of color to call attention to himself, rather than his subject. An achingly beautiful performance by Janet Gaynor, and the decisions made by Fox, however unpopular they may be with critics, keep the painting in focus, making it a masterwork of silent cinema.
Trimming the film by 20 minutes, Fox rushed Sunrise into theatres to cash in on the artistic and commercial triumph of Frank Borzage's masterpiece, Seventh Heaven. The decision by Fox afforded Sunrise what little success it had with the public. Audiences flocking to Sunrise in order to see Seventh Heaven star Janet Gaynor, were again treated to another wonderful performance. They did not warm to the film itself, however, and Murnau's choice to make Gaynor a blonde and give her a spinsterish hairdo in order to contrast the pretty city girl was an example of the less than subtle hammer on nail approach of expressionism which was unnecessary. Borzage, understanding the feminine, had been willing to let Gaynor show her vulnerability through her performance without this artifice in both Seventh Heaven and Street Angel. Murnau did not. While Sunrise is often cited as the film for which Janet Gaynor garnered the first Academy Award, it was a combination of the two Borzage films and Sunrise for which she won. She was deserving in each film for her tremendous efforts onscreen, but it was most certainly Seventh Heaven, so wildly successful and beloved, which put the statue firmly in her hand.
George O'Brien gives an emotional performance full of angst as the simple farmer blinded to his diminutive wife's charms by a woman from the city. Janet Gaynor is moving in her loneliness, longing for her husband to return to his former self. Margaret Livingston's city girl has him in a sensual frenzy so complete, however, that even her suggestion to murder her and make it look like an accident cannot be refused. Murnau used light and spacing to create a beautifully realized atmosphere in harmony with the dark and light of the simple story line. O'Brien does an excellent job as a man so hypnotized by the forbidden fruit he's had, and the promise of more earthly delights to come once they break free, he becomes a tumultuous mess. His agony at what he finds himself about to do as their row boat leaves the dock is evidenced by his inability to even look at her. Gaynor is also wonderful here, filled with joy at just the slightest attention from her husband, then becoming fearful the further out to sea they get. Even the dog adores her, breaking free and sensing she is in trouble. It is her sweetness which begins to untwist the knot, but her horror at his betrayal has her running in fear even after the city girl's spell is broken.
It is now Gaynor who cannot bear to look upon her husband, a loving heart devastated that the man she trusted so completely had thought to take her life. Gaynor makes you feel her pain and want to comfort her, while at the same time O'Brien's efforts to win her trust and see his shame are equally moving. The city he had so dreamt about then becomes a magical place full of wonder as the couple slowly get back to who they once were amid a carnival and fireworks, a dance of life, and the heroic capturing of an intoxicated piglet. The art direction of Rochus Gliese and photography of Charles Rosher and Karl Struss shine in these scenes. Not only do they capture the playful joy of Gaynor and newfound happiness of a couple whose love has been renewed, but the magical setting which makes it all possible. The elaborate carnival especially provides a marvelous backdrop in which the couple can be framed in a romantic light, in stark contrast to the prior darkness. The stylistic carnival set was built in a diminishing perspective, making it appear to go on for blocks. The most moving of moments is a simple one in a church, however, with God's light streaming through the windows to frame a married couple as O'Brien and Gaynor break down. Tender and moving, and very similar to a scene in Seventh Heaven, which was released months before, it is followed by the couple walking out of the church as though it is they who had gotten married.
It is in this most basic and tender moment, however, that Murnau shows that flourish which, for a moment, threatens to tarnish this sweet, simple scene of beauty. A technical camera trick seems out of place and jarring as the couple cross the street. Gratefully, Gaynor and O'Brien pull the focus of Murnau's masterpiece back to its subject before the moment is irrevocably damaged through their sensitive portrayals. Rowing back home on a new day full of promise, the darkness returns in the form of a deadly storm which may bring things full circle, and fate into play. I won't ruin the conclusion for the few film fans unfamiliar with this lovely example of the silent art form, but will say without doubt that the ending Fox insisted on was the right one, filled with magic and tenderness. Lauded too much for the wrong reasons, and not enough for the right ones, it still adds up to a beautiful film and one of the finest from the silent era. I watched it with the original score option on the two disc restored set, and it was an arresting supplement to the visual and poetic story unfolding. Production decisions made by William Fox, a memorable characterization by George O'Brien, and a sensitive and adorable performance from Janet Gaynor, make this a must see film for anyone serious about the movies.
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