F.W. Murnau, 1928, silent/bw (8*)
I'm not usually a fan of silent movies, not in an age of digital 5.1 surround sound, or even the archaic 'age of stereo'. In complete silence, there's obviously something missing, throw in a honky tonk piano and I'd just as soon turn the sound down, or even strangle myself (like Dr. Strangelove). That leaves the dvd's that have a music soundtrack added, which makes them a little more palatable. F.W. Murnau's masterpiece Sunrise is such a beautiful movie visually that the music or lack becomes irrelevant. In fact, the cinematography of Kari Struss and Charles Rosher won a well-deserved Oscar®. This movie looks like an 18th century painting in motion, and often uses special effects done so well you can't tell they're effects.

The story is almost a distraction, a typical lover's triangle cliché with an unfaithful husband. George O'Brian is a philandering husband to Oscar®-winner Janet Gaynor (lots of arching eyebrows and sorrowful looks in silent films), and his cosmopolitan girlfriend from the city (Margaret Livingston), who is vacationing in the married couples' country resort village, plans the wife's murder so the lovers can be together. (Why he can't simply leave and get a divorce is never discussed, but don't expect realism in silent films - usually you get the sin or carnality punishable by an untimely death.)

F.W. Murnau's first film in Hollywood brings his European background and influence into full focus. There are some eerie expressionist scenes outdoors, and some Fritz Lang-ish cityscapes as well as Murnau proves equal to the legendary master. The story takes a back seat to the cinematic art of Sunrise, and this is a treat for all students of film history. Three Oscars®, including one only given this once (for 1927) for Unique and Artistic Film. This film is #12 on the critics consensus top 1000.