Murnau - The True Desert Boring noisy cityscapes. Loneliness in a series of passing faces. A crumbling field. Horses and sacks lying modestly on the ground. Leads and tired dinners. Two proposed realities for life, which will have to visit our main characters. They did not find their dream in the city, and now an ordinary city girl finds herself on a farm. Here she has to face another world - the constant molestation of hard workers and the discontent of the boy's father. The sadness in the eyes will contrast exactly with the bird in the cage, which so doomedly sings his song. Fortunately, Mary Duncan will be annealed in a way that is never possible - expressiveness and stiffness will be natural even without the lessons of Lee Strasberg.
Murnau tells us his story in one breath, fascinating and dynamic, endowing powerful landscapes of pricking fields. The visual solutions proposed here were later developed in both Zinnemann's Oklahoma and Malik's Days of Harvest. Here in everything there is something from Dostoevsky, a simple sincere and painful heart. All the characters seem stupid, but they are all intolerable. Like moths they burn in the circle of passions. And the scene is a village, a harvesting field or a noisy cafe, nothing more than entourage. Probably, if Murnau were to add to the plot boundaries more issues of money, inheritance and prison, then there would be more parallels with the work of Fyodor Mikhailovich. And so, everything that happens revolves around sexual harassment of a woman and a permanent desire to slander her.
7 out of 10
