So it's unlikely that I will be posting with this amount of frequency all the time but currently I am sitting in the library and have been since 11:00PM. Why? It's called an 11-hour overnight shift. I get paid to make sure no one burns down the library and in return I get to screw around on my computer for hours and get paid quite well for it. I've got an Amp in my system and I think the paranoia is starting to kick in but it probably won't affect this entry much.
Well, back to the movie. My mission with the blog has always been A.) to push my love of riffing movies onto other people and more importantly B.) to encourage others to watch old movies. I meet people all the time who say they love movies but they don't like movies that are black & white/silent/foreign. Well, this one is all three so eat it.
This movie is a part of the German expressionism movement that was popular after WWI and in all honesty, I like it but I don't love it. There aren't many people I would truly recommend this film to because if I were to recommend a German expressionist film to anyone I would encourage you to watch The Cabinet of Dr. Caligari [1919] or Metropolis [1927] long before this one (and I'll eventually do entries on those two). The reason is simple:
This movie is depressing.
Well, okay, not just that. It's also a fairly straightforward and not particularly exciting plot for an expressionist film so most people who watch it have to be the kind of people who are super into things like camera angles and lighting or you might get bored. It's simplicity is also why this entry will be easy to do. When I first watched it I summed up 5/6 of the movie with a Tweet that said, "Walrus-looking German man with an intense 'stache loses job, mind" and while I stand by that description, I will try to prove that it really isn't as dry as that description.
Other details about the movie: It's directed by F.W. Murnau who also did Sunrise [1927] (which I haven't seen) and Nostferatu [1922] (which I have and might make a part of a monster movie series of posts). The lead role of the nameless hotel porter is played by Emil Jannings who doesn't look nearly as old/fat out of make-up as he does in make-up. Also, aside from being a silent movie, this is also a movie without dialogue. It has one title card that has a message from the writer of the movie but I'll get to that later.
Finally, I must say that although I'm not sure if every version of this movie has the same soundtrack (but it probably does because mine is the DVD version), I have to say that I LOVE the music in this movie. I love it so much that I wish I could turn it into an mp3 and listen to it on my Zune. Seriously. I think I just have a thing for the cello and well, all stringed instruments since I used to play violin.
And I should have said this earlier: SPOILERS!
So here we see our protagonist, the hotel porter. He loves his job.
However, he is getting a little too old for this shit as we see him taking a break after having to carry a heavy trunk in from the rain.
Here we seeing the door of chance that symbolizes the fact that he might be a little screwed.
Evil supervisor has seen him taking a break because apparently no one taught him how to properly cheat the system. If you're going to slack off, do it in the bathroom. Duh.
But hotel porter recovers and makes love to his mustache.
Before being as pimp as possible. To quote Henry Killenger from Venture Bros.: "I LOVE MEIN JOB!"
At the end of the day, porter returns to his shanty apartment.
Where everyone thinks he's totally awesome because he has a much better job than they do. Deep down though, they think he's a pompous turd (I'm guessing).
Here we see his daughter. What is she doing anyway?
Oh! She's . . . making her own wedding cake. That's . . . tragic. It really is. I mean, couldn't she at least have asked a kind relative to make it for her?
For some reason he pets her veil while shaking his head at her. That's the most kind and subtle disapproval of a marriage I've ever seen.
Porter is made more sympathetic to the audience with a scene of him cheering up a sad child on the way to work. Oh, isn't he such a lovable walrus of an Everyman?
*insert comical bouncing noise of revelation here*
He's wearing the same outfit as me!
Oh, and
Some other porter has taken my place!
I can actually relate to this. I got kicked out of my restaurant at Six Flags once by this annoying guy who would only work three hours at a time while I was forced into the fried dough stand alone for eight hours. It was the busiest damn stand in the water park! But I digress . . .
Porter is sent to the boss' office which either means trouble or an award.
In this case it's the former.
He becomes so overwhelmed with the grief of losing his respectable position (well, respectable for his class) that they literally have to call someone in to strip him of his uniform.
His daughter is waiting for him to come home. So why is he late?
He went back to steal his uniform. Desperate? Oh yeah. He loves those gaudy, shiny buttons all right.
I remember one of my English professors (well, it was technically on English class but it was mostly a film class) explained that uniforms are really important to Germans. Do you think of the same horrible thing that I do when reflecting on that phrase?
So he goes home and pretends everything is totally cool.
But gets totally wasted anyway.
While drunk, he dreams of a superimposition of the revolving door of the hotel taking over his face.
And that he's Superman. Well, who hasn't had that dream?
"Able to lift large trunks with a single hand! Look on in awe!"
The next morning he continues the charade that he still has his sweet job and puts on his uniform. I think that woman is his wife.
So what's the job he has been demoted to anyway? The movie forgot to tell us.
Bathroom attendant. Oh yeah. Bottom of the barrel.
I'm totally serious. Have you ever seen a happy bathroom attendant? Hell no. They have to listen to people pee all day and pretend that you can't grab towels on your own. Plus, all your tips are pity tips.
Corner of sadness.
So, sadness continues for a while and then a new development occurs.
Bitchy neighbor (or is that the wife-figure? Not important) sees that he's been demoted when she goes to bring him some lunch. Daughter is appalled.
More agony and despair as he gives back the stolen uniform.
The use of lighting is just really sweet here.
At this point the audience is thoroughly worn. You're thinking, "Hot damn. This is a downer. Is he gonna die now too? Or is his daughter gonna get hit by a truck driven by her new husband or what? What could you possibly do in the last 15 minutes of this movie to make us feel more horrible?"
Huh?
Wait. What?
Amused rich hotel patrons?
No fucking way.
Was this millionaire high when he wrote his will?
And by the way, these rich people have an odd sense of humor to find this funny.
But you already know who the lucky bathroom attendant was anyway.
So once the employee, he now chills there with his own extravagant wealth.
And to prove that money hasn't changed him (yet), he goes into the bathroom and tips the attendant (who looks like he could be Sigmund Freud's older brother) like crazy.
And gives him a cigar. Have some cancer on me!
And now he actually HAS a pimp coat with which to ride off into the sunset in.
So as I said before, I like this movie. I think the directing is fantastic and the music is great and I like the decision to have no dialogue. I even like the unrealistic happy ending because although the movie does not shy away from the truth, it doesn't want to kill the audience's mood anymore than it already has.
Now if you'll excuse me, I have some old, eccentric millionaires with poorly written wills to find.
