by Ryan Lewellen
FAUST was released by Kino Lorber on 11/17/2015
Perhaps it was F.W. Murnau’s intention from the beginning to prepare his take on Faust for endless re-cuts, both by him, and practically anyone else who could get their hands on a workprint. The concept seems appropriate for this far more optimistic version of the German folktale — one postulating fate can be tempted, and beaten, even under contract with the devil. Nothing is final.
The legendary director shot every scene with two cameras simultaneously, and captured a multitude of takes for each shot over the course of the six-month production. Like the film’s title character, Murnau was given unlimited power for his latest work, and what became the most expensive film produced by Universum Film AG (until Metropolis just one year later) would also yield some of the most astonishing achievements in special effects for the era. Though he was obsessed with getting every detail exactly right, the filmmaker’s final German film in exists so many different variants, it’s difficult to determine the definitive cut, but it’s possible no one has ever come closer than with Kino Lorber’s new Blu-ray release.
It seems the apocalypse is nigh, as three of the four fabled Horseman fly across the world on hellish steeds. On the battleground, the Archangel confronts the demon, Mephisto, and they wager the fate of a human soul. Out of the whole world, they choose that of Faust, an ancient philosopher and alchemist. If Mephisto should turn the soul for satan, he will inherit all of God’s creation. He goes to work, and in an effort to do good (free his country from the plague), Faust accepts the offer of unlimited power and glory, but only for a day. Before the day has ended, however, his tormentor/benefactor has returned him to his youth, and reacquainted Faust with the pleasures of woman. He turns over his soul for an eternity as his younger self, but after defiling the love of his life — the heretofore-virtuous Camille — he curses his blessing, and must find the ultimate truth to escape the diminishing returns of his unholy investment.
This Faust is an odd watch. It opens with, and for the first half, maintains, a lively adventure/fantasy tone. Those opening 40 minutes fly by jauntily, and the effects work featured in them is truly astounding. This is the kind of early picture which combined every known practical filmmaking tool (and supposedly a few new ones) to create startlingly cool and lasting visuals. Every couple of minutes, some baffling trick, or striking shot has that power to slowly stretch the viewer’s mouth unwittingly into a smirk. The film looks incredible, and the story and performances are in tow, keeping pace with the imagery. Gosta Ekman (Faust), Emil Jannings (Mephisto) and Camilla Horn (Gretchen) are the stuff of silent era legend. Their work is towering and compelling, until the film takes an uncomfortable turn.
Just as our hero has discovered Gretchen, the tone suddenly shifts into Farcical Comedy Land. At length, Faust chases his obsession into submission, and the dastardly Mephisto is chased by Gretchen’s love struck aunt like a victim of Pepe Le Pew. One might consider this a welcome break from the foreboding journey to damnation Faust has chosen, but this lighter feel doesn’t stay for long, as Faust abandon’s his lover, and the film plummets into darkness. To say little, Gretchen faces a more painful hell on earth than Faust could have dreamt of in his wildest nightmares.
Today, Faust plays like a classic love story fit only for an unchallenged patriarchy. It’s not that Murnau’s film ever looks down on Gretchen, but the way our hero swoops in at the end for redemption seems a little unearned, considering his lover is really a casualty of his greed, and she never really did anything wrong. Yet, it’s the man’s job to save the woman from the evil he wrought on her. Sexual politics aside (and they must be set aside… 1926 was a long time ago) the film is a work of masterful imagery, and deserves study on a gorgeous restoration like this one. Murnau’s vision will leave you on awe, even if the screenplay leaves you in confusion.
THE PACKAGE
Digitally Restored In HD From 35mm Archival Elements — creates a stunning product
Piano Score By Javier Perez de Azpeitia, Adatoped From The 1926 Orchestral Arrangement By Paul Hensel — my preferred score
Orchestral Score By The Mont Alto Motion Picture Orchestra, Compiled From Historic Photoplay Music — lovely music, but doesn’t quite fit the film so well
The Language Of Shadows — 53-minute documentary on the making and the restoration of FAUST!
Test Footage Of Ernst Lubitch’s Abandoned Production of Marguerite And Faust — a surprisingly hypnotic watch, featuring fascinating performances
Bonus DVD Featuring The Alternate 1930 Cut Of Faust, With An Original Score By Timothy Black, Performed By Olympia Chamber Orchestra — “The Alternate”, like there aren’t dozens of known versions of this film. It’s always a joy for us film dorks to see other versions of a film, and this is no exception.
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