Der Letzte Mann (1924)
Directed by F.W. Murnau

Comedy / Drama
aka: The Last Laugh

Film Review

Abstract picture representing Der Letzte Mann (1924)
F.W. Murnau is best known for his expressionistic masterpiece Nosferatu (1922), one of the landmarks in cinema horror. Impressive though this film is, it is outshone by the director's subsequent Der Letzte Mann, a touching parable of decline and fall that serves as a metaphor for the disintegration of German society after World War I.  Emil Jannings' larger-than-life portrayal of a man whose dreams are brought crashing down is unbearably poignant, one of the highpoints in the career of one of Germany's greatest acting talents.   The real star of the film, however, is the camera, in the hands of Karl Freund, a genius cinematographer of expressionist cinema.  Freund's camerawork broke new ground in films such as this and laid the foundations for film noir.

A film which almost bursts off the screen in a kaleidoscope of cinematographic magic, Der Letzte Mann pushes the art of cinema into new territory and is a mesmerising work from start to finish.  As if borne by wings, the camera moves with a grace and daring fluidity which is rarely seen in cinema.  It constantly roves around the busy world in which the hotel porter lives, zooming in on disapproving faces, flying back to give us a sense of scale and grandeur, and then propelling us into the porter's fanciful and hugely traumatised inner world.  The movement of the camera allows us to experience the porter's moments of delirium, his turbulent mood swings, with a force and eloquence that has to be seen to be believed.  With no dialogue at all, the film relies entirely on visual images to tell its story - which it does with remarkable skill and imagination.

Allegedly at the request of his producers, Murnau was obliged to give the film a happy ending - a virtually impossible feat, you would have thought, given the film's leanings towards social realism.  It looks as if Murnau thought it was a daft idea too.  Rather than attempt to give the film a convincing ending, he tacked on a farcical epilogue which, he makes clear in the film's sole inter-title, is not the kind of denouement that you would ever find in real life.    The film should have ended with the porter in disgrace, reduced to a lamentable state of humiliation and rejection.  Instead, we are treated to a bizarre comic finale, which is so absurdly over the top that it just has to be interpreted as a parody of a happy ending.

Although this comic ending is apparently at odds with the main part of the film, breaking the spell of realism in a split second, it seems - inexplicably - to work rather well.  It reflects our natural optimism that things will turn out right in the end, and so we feel greatly heartened that the film's hero should find wealth and happiness.  At the same time, it becomes increasingly apparent how false this ending is, so whilst delighting in the porter's new-found happiness, we cannot help but imagine the real fate of the ruined solitary old man.  What we are seeing, in this false happy ending, is not reality, but simply another of the porter's dreams, another flight of fancy as he accustoms himself to a grim empty life without status or self-respect.  What we are seeing, in fact, is a nation humiliated by war and economic decline, yet proudly nostalgic of her former glory. After this remarkable collaboration, Murnau and Emil Jannings worked together on two other important films of the decade: Herr Tartüff (1926) and Faust (1926).
© James Travers 2004
The above content is owned by filmsdefrance.com and must not be copied.
Next F.W. Murnau film:
Die Finanzen des Großherzogs (1924)

Film Synopsis

For the old porter at the Hotel Atlantis, his job is the main pleasure in his life.  It brings him into contact with the highest in high society and his smart uniform affords him status, the respect of his family and neighbours.  So, when, one day, he is demoted to a mere lavatory attendant, his shame and despair are more than he can bear.   He steals his former uniform to maintain the pretence that he is still, in his mind at least, a man of stature - but all too soon his deceit is discovered.  Could Fate offer him a happier outcome than the one he seems destined for?
© James Travers
The above content is owned by filmsdefrance.com and must not be copied.


Film Credits

  • Director: F.W. Murnau
  • Script: Carl Mayer
  • Cinematographer: Karl Freund
  • Music: Giuseppe Becce, Florian C. Reithner, Karl-Ernst Sasse, Werner Schmidt-Boelcke
  • Cast: Emil Jannings (Hotelportier [Hotel Doorman]), Maly Delschaft (Seine Nichte [His Niece]), Max Hiller (Ihr Bräutigam [Her Bridegroom]), Emilie Kurz (Tante des Bräutigams [Bridegroom's Aunt]), Hans Unterkircher (Geschäftsführer [Hotel Manager]), Olaf Storm (Junger Gast [Young Guest]), Hermann Vallentin (Spitzbäuchiger Gast [Potbellied Guest]), Georg John (Nachtwächter [Night Watchman]), Emmy Wyda (Dünne Nachbarin [Thin Neighbor]), O.E. Hasse (Small Role), Harald Madsen (Wedding Musician), Neumann-Schüler (Small Role), Carl Schenstrøm (Wedding Musician)
  • Country: Germany
  • Language: -
  • Support: Black and White / Silent
  • Runtime: 101 min
  • Aka: The Last Laugh

The best of American film noir
sb-img-9
In the 1940s, the shadowy, skewed visual style of 1920s German expressionism was taken up by directors of American thrillers and psychological dramas, creating that distinctive film noir look.
The Carry On films, from the heyday of British film comedy
sb-img-17
Looking for a deeper insight into the most popular series of British film comedies? Visit our page and we'll give you one.
The very best of the French New Wave
sb-img-14
A wave of fresh talent in the late 1950s, early 1960s brought about a dramatic renaissance in French cinema, placing the auteur at the core of France's 7th art.
The very best French thrillers
sb-img-12
It was American film noir and pulp fiction that kick-started the craze for thrillers in 1950s France and made it one of the most popular and enduring genres.
The very best fantasy films in French cinema
sb-img-30
Whilst the horror genre is under-represented in French cinema, there are still a fair number of weird and wonderful forays into the realms of fantasy.
 

Other things to look at


Copyright © filmsdefrance.com 1998-2024
All rights reserved



All content on this page is protected by copyright