Reception and Legacy
The film was a major critical and financial success and allowed Murnau to make two big budget films shortly afterwards. Critics praised the films style and artistic camera movements. Film critic Paul Rotha said that it "definitely established the film as an independent medium of expression...Everything that had to be said...was said entirely through the camera...The Last Laugh was cine-fiction in its purest form; exemplary of the rhythmic composition proper to the film." Years later C. A. Lejeune called it "probably the least sensational and certainly the most important of Murnau's films. It gave the camera a new dominion, a new freedom...It influenced the future of motion picture photography...all over the world, and without suggesting any revolution in method, without storming critical opinion as Caligari had done, it turned technical attention towards experiment, and stimulated...a new kind of camera- thinking with a definite narrative end. Lotte Eisner praised its "opalescent surfaces streaming with reflections, rain, or light: car windows, the glazed leaves of the revolving door reflecting the silhouette of the doorman dressed in a gleaming black waterproof, the dark moss of houses with lighted windows, wet pavements and shimmering puddles...His camera captures the filtered half-light falling from the street lamps...it seizes railings through basement windows."
The films story and content was also praised by critics, with Eisner stating that it "is preeminanently a German tragedy, and can only be understood in a country where uniform is king, not to say god. A non-German mind will have difficulty in comprehending all its tragic implications." Siegfried Kracauer pointed out that "all the tenants, in particular the female ones... as a symbol of supreme authority and are happy to be allowed to revere it."
In 2000, Roger Ebert included it among his list of Great Movies.
Read more about this topic: The Last Laugh
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