Der letzte Mann

1924
Not Rated
1h 28min

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F.W. Murnau, Emil Jannings, and Theo Matejko in Der letzte Mann (1924)

Psychological Drama Tragedy Workplace Drama Drama Horror

El portero de un edificio se encuentra ante la burla de sus amigos tras ser despedido de su trabajo en un hotel de alto lujo.El portero de un edificio se encuentra ante la burla de sus amigos tras ser despedido de su trabajo en un hotel de alto lujo.El portero de un edificio se encuentra ante la burla de sus amigos tras ser despedido de su trabajo en un hotel de alto lujo.

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8.0/10

16 k

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Premios
- 2 premios ganados en total

Trivia
The first "dolly" (a device that allows a camera to move during a shot) was created for this film. According to Edgar G. Ulmer, who worked on the film, the idea to make the first dolly came from the desire to focus on Emil Jannings' face during the first shot of the movie, as he moved through the hotel. They obviously didn't know how to make a dolly technically, so they created the first one out of a baby's carriage. They then pulled the carriage on a sort of railway that was built in the studio.

Errores
When the porter comes home with the stolen coat, the third button down (which fell off earlier) is still there until a close-up of him at the door.

Versiones alternativas
There is an Italian edition of this film on DVD, re-edited in double version (1.33:1 and 1.78:1) with the contribution of film historian Riccardo Cusin. This version is also available for streaming on some platforms.

Conexiones
Featured in Mortelle randonnée (1983)

Opiniones de usuarios77

Opinión

Opinión destacada

9/10

Visceral

People seem compelled to speak in superlative-terms when talking about the great directors; which film is their greatest, which ones are underrated, etc. But this is a film so simple in its themes, so modest in its methods, that it doesn't lend itself to these labels very easily.

"Nosferatu" was revolutionary, but based on intensity, something that doesn't age very well. Other directors took up this notion of visual intensity (Leni, Boese) but structuralized it, and created the real German Horror masterpieces ("Waxworks," "Golem"). Murnau's discovery came later, with this film. That film narrative wasn't something that you followed linearly, but something you become immersed in. The lack of title-cards is not a gimmick, but a conscious decision not to interrupt the flow of this immersion. Reading is rational (hearing, slightly less so) and prevents this from taking place.

Add a Gogolian tale of aging and dignity, and Murnau makes magic. This is what "touching" and "moving" films should be like.

4 out of 5 - An excellent film