Faust (1926)

It is almost impossible to describe what sort of visceral power the images in F. W. Murnau's "Faust" conjure up from the depths. The tale is as classic as the German countryside, and it is met with visual mastery comparable to the soaring heights of its source material. In the classic story of the philosopher, Faust, in a cosmic struggle of good and evil, Murnau creates for us a nightmarish world all its own.

Towards man come riding the four horseman of the apocalypse, urged on by the terrifying Mephisto. His warriors are halted by the appearance of the Archangel who challenges the devil to a battle of wills: if Mephisto can corrupt the life of the pious philosopher, Faust, the world will be claimed for evil. The devil accepts, and so begins the great metaphysical struggle of man's natural appetites.

There is no CGI in this film, only ingenuity. And I would go so far to say that this film is ingengious. The lights, costumes and incredible sets all work towards creating a landscape full of monsters and magic which few films, save masterpieces like "Metropolis" and "Blade Runner", have been able to accomplish. There is little in Murnau's dreamscapes which are identifiable, for the film works in the realm of the mind and need to remain so.



This is a movie about man's greed, and his ability or inability to overcome his urges and find something more in the life he has been given. When the themes are so huge it is necessary that the film be huge too. "Faust" is a frightening, shocking, breathtaking example of Expressionism and one of my new favorite movies.

Our protagonist--pawn would be a better description--is an aging man who sells his soul, initially for the good of man which has been stricken by plague, but later finds himself consumed with a desire for youth, sex, power, glory and all of the unnecessary pleasures which had long remained hidden inside his good heart. As first, this seems to be a story of a man's renunciation of God, but we know this cannot be so. There is good in man, and we know that a man as good as this cannot be utterly taken by vice and hedonism.

Faust takes a surreal journey toward redemption despite the best efforts of Mephisto, who uses all of his charm and cunning to seduce Faust from goodness with the allures of pleasure. It will take something stronger than all the powers of Hell to break his contract. But will it be a devotion to God, a quest for knowledge, or something far simpler? We know what it is.

It is an intense drama which demands self-reflection, but an incendiary climax leaves us with optimism. I am a good person, and so are you. We may deviate from the way of goodness, but it is in our capacity to do what's right and find contentment with the last and greatest of all pleasures: love. This is a film of poetry, of sweeping emotion and dazzling style. It has aged beautifully because its messages are timeless. What's more, it is simply a testament that film itself is able to achieve greatness as an art, transcending painting and literature as a combination of both to--although very occasionally--make something which touches the soul.

4/4