2 of FW Murnaugh's classics - Faust and The Last Laugh

In between World Cup matches I've managed to fit in a few classic films, notably two of FW Murnau's silent classics. The wacky schedule of the world cup and working the last few weeks have messed up my sleeping patterns, so with regret, I must admit there were a few times I almost dozed off while watching these and had to split them up over a few nights. That's not too awful, I also fell asleep during Metropolis, one of my favorite films of all time.
More than anything to take away from Murnau's films are the innovation of the camera and style. He invented the unchained camera technique and also the subjective camera (where the camera acts as a character's eyes.). He changed film in a number of ways, and in more ways than can be seen by watching his films; his impact was felt in both European cinema and American and ever since. But how good are his films individually when looked at as movies by themselves on the merits of their stories?

The Last Laugh - Style, tone, cinematography. For a silent film not dealing with war, this was a very visual film. Not as visual as Faust, but considering it centers around a lowly doorman, that's saying something. It follows the doorman of a luxury hotel in a bustling city, who works hard, going above and beyond the call of duty. He cherishes his job, feeling a huge sense of pride, when he arrives home, still wearing the big doorman outfit. He's respected through the whole neighborhood; by the kids, the gossipy women, everyone loves and respects the guy. That's probably due to the fact that it's a poor neighborhood and his suit gives him the respect; he doesn't work in a factory or doing something lowly, and the beautiful suit shows that. In fact, it seems the man's whole life is sustained and revolves around the suit; a symbol for his pride and achievement. Even though he isn't rich, at least he has a purpose and some kind of status.
So when the man loses his job, being relegated to a washroom attendant, his life falls apart. He steals the suit and wears it home, so no one knows the difference. His daughter is married, he has to work and can only attend the reception that night, but even though he has the suit it's not the same. He feels different, and that night he has weird dreams. Eventually, everyone finds out he is not the doorman any longer. Since it's a silent film it's hard for people to talk and explain things, so the man cannot explain that he was just demoted the day before. But everyone thinks he's been lieing to them the whole time and humiliate him as he comes home. Even his family doesn't accept him, his wife who found out because she brought lunch to him earlier and saw him working in the bathroom. She cries and won't see him, so he goes to the hotel bathroom and sits under the window. The film should end on that note, or something that could fit the tone of the film, or end with a believable redemption. Instead, there is a title card that says the author took pity on him, and the man wins a huge inheritance. He gets the "last laugh" while eating in the hotel restaurant and going around the hotel, again feeling pride and prestige. This ending I think may have been influenced by, rather than been an influence like so much else in the film, the plethora of other silent films ending with happy coincidences that put the hero back on top with no help of their own. Silent American films are notorious for it, from Chaplin and many of the silent comedy films.
So is the film a prophetic metaphor about uniform-loving Germany? After getting kicked in the face in the Great War, will they eventually have the last laugh? Probably not, Murnau left Germany two years later. But I think the film is about and for the German people. The 20's were a tough time for Germany, they were financially struggling, dealing with domestic disputes as well as being ridiculed and abused internationally. The German people needed something to lift them up, to give them a sense of purpose. The suit the man wears is a symbol of that. He wasn't making so much money that he could move his family to a nicer home, but with that suit he could feel more important and thus have a purpose. But the problem lies in placing too much emphasis on that. The people in his neighborhood turned him from a Grandfather figure to the laughing stock of the neighborhood in one quick turn. The man probably still made about the same amount of money, working in the wash room, he just didn't have a cool looking suit to wear, and rich people stopped smiling at him, like when he opened the front door and tipped his oversized cap at them.
The Last Laugh is great social commentary, especially for the German people at the time. But the story lags slightly, maybe because of the few title cards used, but mainly because the story just doesn't have much action. The ending almost ruins the film, but the overall tone and meaningfulness of the story make up for it, leaving a lasting film that's a classic on many levels.

Faust- And then there was Faust, similar but totally different. All the mood and glimpses of German expressionist stylings in The Last Laugh, are exemplified here. From the story to the sets and everything in between, this film typified the German expressionist film movement. The story is dark, following the legend of Faust, who sold his soul to the Devil. It opens on Mephisto betting with an angel that he can corrupt a righteous man's soul. If he can, the angel will give him the world. I don't know how the angel has power to do that, or why he has so much faith in men, but the deal is made, using Faust as the man. The story takes place probably around renaissance times in Europe, and Faust is an alchemist with a big heart. Mephisto's first step is to bring down a plague on the city, for which Faust is helpless to stop and save anyone. Then, he curses God and turns to the Devil. One thing leads to another and bam, Faust sells his soul after a mini trial run of unlimited power.
The one real problem with the story is that Faust so quickly turns to the Devil, when he's supposed to be so righteous. Why did the Angel offer him up as the example when he turns so quickly? Judging by his career choice, he was already trying to play God with chemicals. But that's the issue with most silent films, the camera just accepts whatever it sees, from over reacting to things to turning on a dime.
By now, I've figured out that Murnau is not the best storyteller, but that doesn't matter. His ability to infuse his style and tone in the mood is remarkable. Faust uses some great visual story techniques, from Mephisto towering over the village(a la Fantasia style) to when Faust and the devil are flying over the countryside. This film is worth it merely for the visuals, which is absolutely remarkable for the silent era, barely being surpassed by Metropolis.