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31
and a Siren
of the country boy who is lured from his world, but under the skillful hand of the theme is treated with new vigor and charm.
Gebhart
helpers. Oh, well, he figured, the to take could be taken later — to-morrow — when the streets had dried.
Already ten actual weeks of production had slipped past, with several more to follow, but the Fox coffers had been opened wide to Murnau, with only one stipulation — that he make a good picture. And that was what he intended to do.
The scene changes. Peeping shyly from behind the hills, the sun rises over a quaint village, whose uneven roofs overlook a quiet lake. It smiles down upon the simple folk going about their humdrum tasks in orchard and in shop. It sprinkles its soft pink-and-golden charm upon a young couple standing, with their arms linked and their
But in the end comes remorse, and The Boy, with his eves open now, comes to plead forgiveness of his wronged young wife.
scenes he had planned
The Boy, unable to resist the allure of his temptress, succumbs completely to her caresses.
faces raised to its glow, in the doorway of their humble cottage. Gone is the bustle and the conflict of the city ; over this quiet scene there reigns a gentle peace.
The "Sunrise" family clustered about their leader, the big, jovial, red-haired F. W. Murnau. The name of this German director is already known to America through "Faust" and "The Last Laugh," both of which he directed. The poetic beauty and charm of his manner of telling a simple tale on the screen is not only more artistic but is so much more compelling and absorbing than the usual American method of rapid action and swift, pounding climaxes. With mercurial ease, the scenes of a Murnau film seem to flow one into another, unfolding with simplicity the thoughts and feelings of the characters, leading you deep into their hearts.
It is, as Murnau explains his purpose, a transposition of music to the screen.
"It's like a melody," he said. "Each sequence must be a strain carrying on the basic motif of the story which I try to tell in pictorial music." In his fumbling English, aided, by his expressive hands and still more eloquent face, he gave voice to this idea. "There are the light scherzos, the dramatic sonatas. The big