THE HAUNTED SCREEN (1947)

Lotte H. Eisner is probably a name not known to you. If you are aware of her, give yourself a pat on the back.

She was a film fanatic, and instrumental to the New German Cinema movement which was an extremely productive, prolific and revolutionary time for filmmaking in Germany in the 1970s.

Born in 1896, she was a mentor to so many filmmakers. She had a brilliant eye for visual communication, so it’s no surprise that she was so taken with German Expressionism.

However! She is best know for penning and collecting THE HAUNTED SCREEN, which is her brazenly extolling the striking visual technicals of German Expressionism.

While her deep dive into films that are mostly either lost or forgotten, what makes this work really shine are the film captures.

Like any good goth, as a college youth I photocopied each and every page with a screenshot and cut and plastered it to my walls, because there is nothing more goth than German Expressionism. I even made tape cover montages through the images, as was the style of the times.

If you are not familiar with German Expressionistic films, here’s your introduction. If you are, but haven’t read it? You will find comfort in it. It’s a great read, one that should be on every cineaste’s book list.

It is available via the University of California Press!

THE LAST LAUGH/DER LETZTE MANN (1924)

(kanopy/VOD/YouTube) Sure, F.W. Murnau directed NOSFERATU, FAUST, as well as one of the greatest melodramas ever with SUNRISE: A SONG OF TWO HUMANS, but my favorite film of his is THE LAST LAUGH.

THE LAST LAUGH is an extraordinarily depressing story of a hotel porter’s fall from grace starring Emil Jannings, an actor exceptional at portraying broken characters. While the tale is simple, it’s not simply told, as Murnau puts forward all of his talents with his ‘untethered camera’ as possible. Briefly put: the aging hotel porter (Emil Jannings) loves his job, loves the limelight of the front door and accommodating the hotel’s guests. However, his boss deems him too old and re-assigns him to be a washroom attendent. Despite the very slight story, it’s an expressionistic marvel, pure cinema, with Murnau’s camera visually and emotionally gesticulating all over the place, eschewing title cards except for one which is displayed upon Jannings falling asleep in his newly anointed washroom attendent’s chair. (Yes, yes, one might construe the following as a spoiler):

“Here our story should really end, for in actual life the forlorn old man would have little to look forward to but death. The author took pity on him, however, and provided quite an improbable epilogue.”

The last fifteen minutes of the film consists of an orgy of food, montage, and lower-class well-wishing. Talk about having your cake and eating it too.

A clip:

The full film via YouTube (it’s in public domain, but there are restored editions out there that are worth your hard-earned cash):