There are lots of films that have been made in the last 110 years of cinema. Most of them are made with certain goals. Some aim at sheer entertainment; some at conveying morals; some are made in educational purposes; some are vehicles for stars; yet some of them attempt to spread art. There are, however, films that serve most of these goals. An example of the film which combines all prestigious aspects of cinema is, without any doubt, THE LAST LAUGH (1924) by a master F.W. Murnau. It is a film that a lot of people consider one of the most artistic films ever made. Although its content may seem sad and its silent form dated, there are very few people who do not find this movie worth seeing. Here, it seems significant to state that it is one of the few silents that have been watched and admired not only by silent movie fans but foremost by people who are not knowledgeable of silent cinema and who are not keen on it whatsoever. Is there some magical spell that Murnau and his cast put into this film more than 80 years ago that it does not seem to fade? Here are some of the factors that make the film highly recommended.
First of all, THE LAST LAUGH is the film which could boast the very innovative movement of the camera, a great invention of Murnau and cameraman Karl Freund. It does not only move leftwards and rightwards but also forward and backwards. The best example is the famous final shot of the main character (Emil Jannings) leaving the hotel in which he has had such extreme experiences. As he gives money to the people in the row waving him goodbye, the camera beautifully moves together with the movement of Jannings. This was really something extraordinary for the 1920s, people were particularly astonished by the camera possibilities and the film was a smashing success. Therefore, even now, thanks to this aspect, the film does not seem as dated as other films from the early 1920s (we must keep in mind that this was 1924 and silents were less developed than the later ones with Garbo, for instance).
Secondly, the film differs from most other silents in another aspect. While many films from 1910s and 1920s had subtitles as to what is being said by particular characters, THE LAST LAUGH does not have them. Everything is so beautifully conveyed by the players that it seems to be absolutely unnecessary to have it written what they say. Jannings gives a marvelous performance as a humiliated man, deprived of everything, even his dignity, who had to replace his honorable position of a luxurious hotel Porter with a guardian of its toilet. It is difficult to express it fully with words but when you look at Jannings, there is such a feeling that you can read his mind. I had this impression throughout the whole movie. Others also play very well but it is Jannings who is in the main role, who is given most time on screen and whose portrayal is the most memorable. I haven't seen THE LAST COMMAND (1928) but it is undeniable that his role in LAST LAUGH was a milestone of his career. Moreover, he is an absolute model of male silent performance.
The whole content is also not much dated. The main idea of what happened to the Porter of the Atlantic Hotel is pretty universal. Who knows what the future will bring? Therefore, it was easy to feel empathy with the main character for the 1920s audiences and it is still possible for us. Perhaps, you may consider my opinion exaggerated, but I think that Murnau made his film everlasting partly thanks to this very content. How can a viewer skip the empathy with the poor old man when he reads a letter that fires him or when the gossip spreads to his district? The dreams that he has even more intensify the tragedy that takes place around him and in his mind. The additional final 15 minutes that show events which, unfortunately, never take place in life, appear to be the result of the author's compassion with the main character. They are, indeed, unreal but HIGHLY ENJOYABLE. That is the quintessential of the whole art that Murnau's is and its peak of entertainment. But it is caused by one more important advantage of the whole film, particularly these final 15 minutes.
The film's perfect flaw is humor. Although the content is quite saddening, the film is full of very amusing moments. Who can forget the Porter's last visit to the toilet or his facial expression while sitting at the table in his new role? I also loved the whole sequence of his niece's (Maly Delschaft) wedding. It was the last chance for him to wear a uniform, which was so honorable in the eyes of people. WONDERFUL IN NO WAY DATED HUMOR that still serves its purpose.
Finally, music by Giuseppe Becce! That is something that makes you thrilled throughout. I have to admit that when I saw THE LAST LAUGH for the first time, I was glad that it is a silent film. It was destined to be made in the 1920s since dialog would destroy its whole magic together with gorgeous music that provides a viewer with marvelous experience. Although there was a remake of the film in the 1950s, it never deserved the attention of the original.
To sum up, THE LAST LAUGH (1924) is a marvelous innovation for its time and still an unforgettable experience for the present generation audience. Everyone, no matter if keen on old films or not, will find something great in it. Definitely a great masterpiece, a legend of early cinema, and a must on the list of 10 all - time best movies! 10/10!
First of all, THE LAST LAUGH is the film which could boast the very innovative movement of the camera, a great invention of Murnau and cameraman Karl Freund. It does not only move leftwards and rightwards but also forward and backwards. The best example is the famous final shot of the main character (Emil Jannings) leaving the hotel in which he has had such extreme experiences. As he gives money to the people in the row waving him goodbye, the camera beautifully moves together with the movement of Jannings. This was really something extraordinary for the 1920s, people were particularly astonished by the camera possibilities and the film was a smashing success. Therefore, even now, thanks to this aspect, the film does not seem as dated as other films from the early 1920s (we must keep in mind that this was 1924 and silents were less developed than the later ones with Garbo, for instance).
Secondly, the film differs from most other silents in another aspect. While many films from 1910s and 1920s had subtitles as to what is being said by particular characters, THE LAST LAUGH does not have them. Everything is so beautifully conveyed by the players that it seems to be absolutely unnecessary to have it written what they say. Jannings gives a marvelous performance as a humiliated man, deprived of everything, even his dignity, who had to replace his honorable position of a luxurious hotel Porter with a guardian of its toilet. It is difficult to express it fully with words but when you look at Jannings, there is such a feeling that you can read his mind. I had this impression throughout the whole movie. Others also play very well but it is Jannings who is in the main role, who is given most time on screen and whose portrayal is the most memorable. I haven't seen THE LAST COMMAND (1928) but it is undeniable that his role in LAST LAUGH was a milestone of his career. Moreover, he is an absolute model of male silent performance.
The whole content is also not much dated. The main idea of what happened to the Porter of the Atlantic Hotel is pretty universal. Who knows what the future will bring? Therefore, it was easy to feel empathy with the main character for the 1920s audiences and it is still possible for us. Perhaps, you may consider my opinion exaggerated, but I think that Murnau made his film everlasting partly thanks to this very content. How can a viewer skip the empathy with the poor old man when he reads a letter that fires him or when the gossip spreads to his district? The dreams that he has even more intensify the tragedy that takes place around him and in his mind. The additional final 15 minutes that show events which, unfortunately, never take place in life, appear to be the result of the author's compassion with the main character. They are, indeed, unreal but HIGHLY ENJOYABLE. That is the quintessential of the whole art that Murnau's is and its peak of entertainment. But it is caused by one more important advantage of the whole film, particularly these final 15 minutes.
The film's perfect flaw is humor. Although the content is quite saddening, the film is full of very amusing moments. Who can forget the Porter's last visit to the toilet or his facial expression while sitting at the table in his new role? I also loved the whole sequence of his niece's (Maly Delschaft) wedding. It was the last chance for him to wear a uniform, which was so honorable in the eyes of people. WONDERFUL IN NO WAY DATED HUMOR that still serves its purpose.
Finally, music by Giuseppe Becce! That is something that makes you thrilled throughout. I have to admit that when I saw THE LAST LAUGH for the first time, I was glad that it is a silent film. It was destined to be made in the 1920s since dialog would destroy its whole magic together with gorgeous music that provides a viewer with marvelous experience. Although there was a remake of the film in the 1950s, it never deserved the attention of the original.
To sum up, THE LAST LAUGH (1924) is a marvelous innovation for its time and still an unforgettable experience for the present generation audience. Everyone, no matter if keen on old films or not, will find something great in it. Definitely a great masterpiece, a legend of early cinema, and a must on the list of 10 all - time best movies! 10/10!