Soul Survivor?

Iconic German director F.W. Murnau is often considered to be one of the most influential filmmakers of the silent film era. Creating the first ever vampire movie, Nosferatu (a perfect example of German Expressionism) in 1922 and Sunrise (sometimes considered to be the best silent film drama of all-time – and the first motion picture he made in America) in 1927, a perhaps slightly lesser known movie (of his) that is equally as impressive is 1926’s Faust: A German Folk Legend.

Revolving around the age old struggle of good versus evil, the tale begins with the demon Mephisto (Emil Jannings) debating with an Archangel (Werner Fuetterer) about the nature of human beings. The agent of darkness believes that he will be able to corrupt the righteous, wise old sage Faust (Gösta Ekman). The two agree that, if Mephisto succeeds, the Devil will be given rule over the Earth.

Utilizing all of the vile trickery and deception that he possesses, the Devil concocts a horrific plague, which he blows into the village where the aged Faust lives. The well respected elderly man attempts to save some of the dying villagers, but to no avail. Even his prayers go unanswered. At his wits’ end, he throws his books of learning into the fire, including his Bible.

As they burst into flames, one book flies open to a specific page, demonstrating a way to gain superhuman powers by summoning a demon. Grabbing the burning tome, he heads down to the crossroads – desperate and willing to try the piece of dark magic.

Mephisto appears, attempting to win Faust over. The leery man, uncertain of the glowing eyed demon, is finally seduced by the chance of having a one day sample period under his evil wing, trying out the powers that he is offering. He utilizes his healing powers to help the villagers, though when they realize that he has shunned the forces of good for those of darkness, they attempt to stone the man. Fleeing to his home, Mephisto further fortifies his hold on the man by offering him back his youth, presenting a vision of the most beautiful woman in the world naked in front of him.

The demon transports him over the village and through the mountains to where the Duchess of Parma (Hanna Ralph) lives, seducing her for his protégé’s pleasure. As only the Devil can do, the clock runs out just as the now youthful man is going to make love to the striking woman, forcing his hand into completing the ever-lasting contract with Mephisto.

Tiring of all of the bacchanal behaviour, the man craves to be transported back to his hometown. Upon his return, he immediately sees a stunning young innocent named Gretchen (Camilla Horn) – falling head over heels for her. Utilizing the aid of his demon sidekick, the two seduce the ingenue. Will Faust continue to fall further and further down the malefic rabbit hole, ruining the lives of others and leaving death and destruction in his wake; or will he be able to find a way out of his deal with the Devil?

Utilizing all of the resources of the UFA Studio in Germany, Murnau developed a highly influential film whose legacy can still be seen in movies to this day. Featuring mind-boggling sets and effects, this movie can be seen as a precursor to so many visuals found in films and television today. For instance, the summoning of the demon, with Faust drawing a circle in the ground that suddenly ignites, which is then followed by the appearance of the eerie glowing eyes of Mephisto (a demon who can appear at will), is very similar to the modern effects used in a show like Supernatural. It is actually somewhat surprising to witness, as many of the graphics feel equivalent to what see now, nearly one hundred years later with CGI. Likewise, the intricacies of the model sets are equally as inspiring. With their fully functioning chimneys and fairytale-esque roofs, it feels utterly real when the Devil stands over the town, blocking out the sun and putting the village into a state of complete darkness. With this method of miniature models being used in so many other films (including The Lord of the Rings trilogy), this early motion picture feels like the gold standard for doing set design right. Even the flying scene is impressive, feeling more real that many of the effects we would see in 1970’s era movies (e.g. Superman).

Provided with carte blanche from the studio, Murnau was given an unlimited budget to complete the masterpiece, and it is clear that there is quality in every minute detail. Often taking an entire day to film one minor scene, the actors would work for fourteen hours to get a (kissing) scene just perfect, leading to more than six months of filming. What is clear is that the actors were put through their paces, as a scene where Horn is dragged around in chains was actually done using real irons. Bleeding and in pain after many long hours, Horn later revealed that many of the extras were in tears as they watched her go through the ordeal. Yet, Horn, until the day she died, loved Murnau, saying only the loveliest of things about him and his work. Murnau was actually so specific in his actions that he directed every minuscule manoeuver and expression on her face.

The beauty, skill, specificity and cinematography on display in Faust cannot be overstated. A perfect example being that in one small scene, a bear was needed. After trying a man in costume and not being impressed by the lack of realism, he re-shot it with a real ursine. Feeling grand in every which way, Murnau is able to aptly depict a harrowing tale of good versus evil in all of its epic nature. So, check out this lovely silent film to experience a movie that transcends the time in which it was made.