Switching from expressionism to kammerspiel was only for the best for F.W. Murnau. Turning from pure fiction to reality, the director and his cinematographer Freund introduced, quite revolutionarily, moving camera (and also POV-shots) and abandoned intertitles. Intertitles do often kill film's dynamics, and "Noseratu," which is apparently the most famous Murnau's title, was in a way spoiled by texts of all kinds. To abandon intertitles completely was an obvious decision, but difficult to realize and demanding a great skill. Murnau did a brilliant job: there isn't a sequence or a shot which is hard to get despite no lines heard or seen and no explanation given.
Admirably, even from external difficulties Murnau managed to benefit. I mean the ending forced by the movie producers. Murnau had to obey; but he made an obviously unrealistic farce instead of regular happy ending, and also preceded it with a sardonic commentary. As a result, the final sequence underlines picture's message: the second change of protagonist (now to a tux and a top hat) is not a random detail. Furthermore, it's not Hollywood-like idealism we feel here, but a hysterics, some desperate hope. We can even suppose that everything after the only intertitle with Murnau's commentary is a dream, protagonist's insane fantasy.
Funny enough, this forced ending not only gave an additional dimension to "Der Letzte Mann," but also would be used as a narrative technique on its own right by other filmmakers: see Scorsese's "Taxi Driver" and Kusturica's "Underground," both featuring corresponding unrealistic epilogues.
Admirably, even from external difficulties Murnau managed to benefit. I mean the ending forced by the movie producers. Murnau had to obey; but he made an obviously unrealistic farce instead of regular happy ending, and also preceded it with a sardonic commentary. As a result, the final sequence underlines picture's message: the second change of protagonist (now to a tux and a top hat) is not a random detail. Furthermore, it's not Hollywood-like idealism we feel here, but a hysterics, some desperate hope. We can even suppose that everything after the only intertitle with Murnau's commentary is a dream, protagonist's insane fantasy.
Funny enough, this forced ending not only gave an additional dimension to "Der Letzte Mann," but also would be used as a narrative technique on its own right by other filmmakers: see Scorsese's "Taxi Driver" and Kusturica's "Underground," both featuring corresponding unrealistic epilogues.