Career
After World War I ended, Murnau returned to Germany where he soon established his own film studio with actor Conrad Veidt. His first feature-length film, The Boy in Blue, a drama inspired by the famous Thomas Gainsborough painting, was released in 1919. He explored the popular theme of dual personalities, much like Robert Louis Stevenson's Dr. Jekyll and Mr. Hyde, in 1920's The Janus Head starring Veidt and Bela Lugosi.
Murnau's most famous film is Nosferatu, a 1922 adaptation of Bram Stoker's Dracula for which Stoker's widow sued for copyright infringement. Murnau lost the lawsuit and all prints of the film were ordered to be destroyed, but bootleg prints survived. The vampire, played by German stage actor Max Schreck, resembled a rat which was known to carry the plague. The origins of the word are from Stoker's novel, where it is used by the Romanian townsfolk to refer to Count Dracula and presumably, other undead.
Nearly as important as Nosferatu in Murnau's filmography was The Last Laugh ("Der Letzte Mann", German "The Last Man") (1924), written by Carl Mayer (a very prominent figure of the Kammerspielfilm movement) and starring Emil Jannings. The film introduced the subjective point of view camera, where the camera "sees" from the eyes of a character and uses visual style to convey a character's psychological state. It also anticipated the cinéma vérité movement in its subject matter. The film also used the "Unchained Camera Technique", a mix of tracking shots, pans, tilts, and dolly moves. Also, unlike the majority of Murnau's other works, The Last Laugh is considered a Kammerspielfilm with Expressionist elements. Unlike expressionist films, Kammerspielfilme are categorized by their chamber play influence, involving a lack of intricate set designs and story lines / themes regarding social injustice towards the working classes.
Murnau's last German film was the big budget Faust (1926) with Gösta Ekman as the title character, Emil Jannings as Mephisto and Camilla Horn as Gretchen. Murnau's film draws on older traditions of the legendary tale of Faust as well as on Goethe's classic version. The film is well known for a sequence in which the giant, winged figure of Mephisto hovers over a town sowing the seeds of plague.
Nosferatu (music by Hans Erdmann) and Faust (music by Werner Richard Heymann) were two of the first films to feature original film scores.
Read more about this topic: F. W. Murnau
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