Sunrise (1927) Limited Edition
1.20:1
Movietone Track (Mono)/
Orchestral Score (Stereo)
20th Century Fox, Price N/A
As part of its Studio Classics line of DVDs, 20th Century Fox
Home Video has sneaked something into the market that no cinematography
enthusiast should do without: a newly restored Sunrise, with
an audio commentary by John Bailey, ASC that illustrates just
how good such an analysis can be. The word "sneaked" applies
because Sunrise isn't actually for sale - as incredible as it
might seem, Fox is making the DVD available for free to those
who buy three other Studio Classics titles and mail in their
proofs of purchase. A great digital transfer of Sunrise would
be a find at any price, but given all this disc has to offer,
its freebie status is nothing short of miraculous.
At heart a simple melodrama about a philandering husband (George
O'Brien) who rediscovers his love for his wife (Janet Gaynor),
Sunrise is a film whose visual complexity was unmatched upon
its release in 1927. It was the first American film made by German
Expressionist director F.W. Murnau, and at the first Academy
Awards ceremony in 1929, Sunrise earned the only such award ever
bestowed for "Most Unique and Artistic Production." It
also earned the first Academy Award for cinematography, an honor
shared by Charles Rosher, ASC and Karl Struss (whom Rosher successfully
nominated for ASC membership following Sunrise's release). Cinematographers
of all ages continue to cite the film as a favorite. (One of
its most ardent fans was the late Nestor Almendros, ASC; see
historical on page 94.)
In realizing Sunrise's visual design - which Struss later said
was meticulously detailed by art director Rochus Gliese - Murnau
could hardly have hoped for more able collaborators than Rosher
and Struss. Both men were accomplished still photographers who
had followed very different paths to Hollywood; Rosher was an
Englishman whose portrait photography had brought him considerable
acclaim, and Struss was a New Yorker whose studies with the Photo-Secessionists
had led to a successful career in commercial photography. The
two men met on a beach in Bermuda in 1914, when Rosher was working
on a film and Struss was shooting material for a tourist brochure.
Struss moved to Hollywood in 1919 and began working as a cinematographer
almost immediately, and a few years later Rosher brought him
aboard Sparrows to do additional photography. During that shoot,
Rosher began prepping Sunrise with Murnau, and he soon brought
Struss aboard that film as well.
For Sunrise, Struss operated
a motorized Bell & Howell and
Rosher operated a hand-cranked Mitchell camera, and Struss later
said that who shot what was usually determined by which camera
was best suited to the action. One of the film's most prominent
features is its fluid, mobile camerawork - a hallmark of Murnau's
style - but the array of in-camera effects achieved by the cinematographers
offers one grace note after another. (As is true of the best
photographers, Struss and Rosher were also innovators - Struss
had patented the Struss Pictorial Lens, and Rosher was among
the first to achieve multiple exposures on the Path camera.)
In fact, watching Sunrise, it's hard to disagree with Vilmos
Zsigmond, ASC's controversial observation that the coming of
sound stopped cinema's progress in its tracks.
Sunrise was actually
in production when sound came to Hollywood, and it was subsequently
released in two versions: a silent version
that was widely exhibited, and a Fox Movietone version that was
screened in handful of Fox theaters in major metropolitan areas.
This disc allows you to enjoy the film either way - one audio
option features a full orchestral score, and another features
the beautifully restored Movietone track. (For more about the
restoration, see story on page 98.)
But it's the third audio option, Bailey's commentary, which makes
this disc a prize, for it takes the notion of "expert commentary" into
a new and very worthy dimension. Although any number of Murnau
scholars might have shared details about Sunrise's production,
Bailey does that and more - his commentary offers us a window
onto how a cinematographer watches a movie, what impresses him
about another cinematographer's work and why. In short, it's
a 95-minute master class delivered in an engaging, conversational
style. If you've never seen Sunrise before, Bailey's commentary
will open your eyes. If you're already a fan, he's your dream
date.
Also included on the disc are some outtakes, the screenplay
(by Carl Mayer) with Murnau's notes, and a short featurette about
Four Devils, Murnau's "lost" film. -
Rachael K. Bosley
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