The compositions give an interesting impression
of three dimensions. This was achieved by having objects or people
in the foreground and action in the background, as in the scene
where the city woman is watching the searchers coming back from
the rescue attempt. In the interiors, there are lamps in one part
of the frame or, in some instances, statues in the foreground.
The foreground objects are cut off by the frame on one side, leaving
the rest of the foreground open for the main action, enhancing
the impression of depth and perspective. This idea of depth had
a great influence on Orson Welles; the transmission, apparently,
went indirectly through John Ford. Ford liked Sunrise very much,
and that's why he put so much depth in How Green Was My Valley
and all the other movies he made during that period of his work.
Of course, by the times of John Ford and [ASC members] Gregg Toland
and Arthur Miller, wide-angle lenses were available, making it
possible to more easily obtain that feeling of depth that previously
could be gained only through set designing.
Some of the other techniques in this movie that
influenced cinema later on were slow motion, flashback (in the
scene of the drowning), cross-cutting and back projection. (The
backgrounds are always important in Murnau's movies; there's
always been movement there, as in that scene of Janet Gaynor and
George
O'Brien in a restaurant with people dancing in the background.)
In Sunrise there are often two actions going on at the same time.
In the dream sequence, when the man and wife are walking in the
city, suddenly they seem to be in the country, then they come
back to themselves because there is a traffic jam, and they again
are
in the city. This is how it was done: they were walking on a
roller (conveyor belt) and behind them was a projected film which
included
the dissolve from the city to the country, and back to the city.
On the other hand, when Gaynor and O'Brien are on the tramway,
the opposite was done: we see the actual background. This technique
was virtually abandoned until the New Wave era; one must wait
until Godard to see real moving backgrounds shot from a car, because
for years they were all done in the studio. This was because
of
sound recording and the massiveness of the cameras.
This brings
up another subject: the mobility of the camera in Sunrise. Silent
cinema reach its peak with this movie and others made in the
last years before sound came in, from 1925 to 1929. Silent films
had become extremely sophisticated. They were perfection itself,
especially in the area of camera movements. The camera was very
free then, and this film is one of the best examples. When sound
came,
because of the huge blimping necessary to blot out the noise of
the camera mechanism, the camera became very static and the techniques
became stiff and studio-like. So it is a pleasure to see that ride
on the tramway and note that the sunlight hits according to the
movement;
if the train turns, the sunlight shifts as well. The sense of reality
in that scene is wonderful.
Another technique used for atmospheric
effect was smoke. Smoke nowadays is very much in fashion, as in
E.T. and my own Days of Heaven. Everybody
is using smoke or fog. As you can see, that is hardly new, either.
Remember the swamp scene where you see lots of smoke? And in the
marriage scenes, the smoke materializes the light rays coming in
from a high church window to create a divine, holy scene.
There are
many dolly shots in Sunrise. Some are very well done. I don't think
you could make that very first one better today. Rosher
and Struss invented the suspended camera dolly over the heads of
the players. Apparently, they put tracks on rails on the ceiling
(instead of on the floor), as in the scenes in the restaurant.
When I first saw Sunrise, I thought they had used a crane dolly,
but after
reading some articles in old film magazines I learned that it was
in fact a suspended camera on a track in the ceiling of the studio. Backlighting
was a typical technique of the time, perhaps more so in this movie
than in other silent films. There was a constant use
of backlighting that practically designed people and made the smoke
materialize when the city woman smoked cigarettes. It was so atmospheric
you could almost touch the air and smell it.
Sunrise is a dialectical
movie. It obviously was designed by placing things in opposition.
The city woman is in black, she's a brunette,
and her clothing shines like a snake's skin. The peasant woman
is pale and blonde and dresses in light, soft tones. Purity against
evil. The territory of the bad woman is the swamps and the river.
She acts by moonlight, whereas the good woman acts in sunlight
and
has farmland, domestic animals and flowers around her. Another
major opposition is that of the country vs. the city. In fact,
the shooting
script was written in a way so that every scene would be repeated
in a symmetrical way - symmetrical but opposite. For example,
the first ride on the tramway would be unhappy, the second would
be
happy. In everything you'll find a counterpart.
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