See chronic Kinok
respectively first and last Murnau's collaboration with Fox, The Dawn City Girl and share many common features. Frustrated love are similar: lost somewhere in the contrast between countryside and city. Both works have yet a different tone from each other, and this difference goes beyond the context of creation - apparently more difficult for City Girl, as explained in the DVD extras. The first film, a masterpiece has long been celebrated, immerses us in the throes of feeling, making the light flicker on the screen. The second, long considered a minor, is less radical: the feelings are most obvious, and life is peaceful now, sometimes disturbing, but never threatened by the shadow of the Expressionist tragedy.
A very dumb speaking Not in City Girl, this dizzy most of the absence and presence. The film loses luster in what it gains in simplicity. The initial data is more basic, in fact, more sociological, since here the countryside and the city meet through two archetypes: the peasant's son and the waitress was fast food. In this already Murnau away from German Romanticism to go to a romantic realism - this probably is telling that commentators City Girl is the first truly American film of German filmmaker.
City Girl gives a modern feel. Perhaps this is due to the ambiguous status of this work, which straddles the silent and talking - there was apparently a talking version that does not reach us. Still, the fighting of light and shadow gave way to scenes more explicit, more theatrical, more precisely speaking.
Murnau's camera fits in perfectly coherent to places and situations. The scenes in fast food, for example, with these static shots that allow customers and waitresses frolic before the metal machine. Then, in the brouhaha (always silently filmed), the game between our two charming characters insensitive to agitation. Or the scenes of harvest, first teaching, then down the long fields of wheat in large shots.
The couple proof against loneliness Countryside and city has beautiful object so if just, are found in two places illusion and disillusion. The rich girl City is in the removal, beauty and oppression of the city to the sweetness and harshness of the campaign. In the streets or fields, our waitress was always the toy of a bleak fate in the hands of cruel men or cowards. Dreams are the same, the city lights on the horizon of cornfields. And nightmares too, which distort the faces, feelings and sift harden hearts.
City Girl, basically, tells the story torque to the test of solitude. In town and country, be two to play with space - and to play his way. Witness the encounter in the fast food: the counter that separates our two characters, machines and the boss who is watching as many events in the game of seduction that came naturally. It is the same when the couple arrived at the campaign and played in the euphoria of the moment, and continue to hide her as if to entwine. Conversely, moments of solitude are those where space is most oppressive. For example when our farmer learns in the midst of the crowd, a newspaper that the price of wheat has to fall: the news is carried in the march of urban indifference. On the farm, it's time for our waitress to be crushed by this in-hospitality. She finds herself in the shadows of empty rooms with the only vis-à-vis an authoritarian father a farmer or lewd.
Yet there is always - and this is even the leg of Murnau - amazed even in this naive realism steepest. The night of power which sees our couple lose themselves and find an opportunity of great plans in the light of lanterns. We find that the presence of vertigo and loss that was the beauty of dawn and spends in City Girl nuanced portrait of a love story surprisingly modern.
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