La Revue du Cinema (1931)

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par film deux ou trois départs qui comptent, mais ils sont frénétiques et durent parfois une bobine entière. Le reste est spasmodique ou descriptif ou simplement se traîne en finesses inutiles. Seuls Nosjératu et Tabou conservent leur ligne violente. La rupture du magnétisme a souvent pour cause l'impuissance soudaine de Murnau à contrôler les grandes arabesques qu'il a lancées dans toute les directions, par sa U.F.A. Emil Jannings dans Le Dernier des Hommes, d'après un scénario de Karl Mayer (1924). 28