IMDb RATING
8.1/10
17K
YOUR RATING
The demon Mephisto wagers with God that he can corrupt a mortal man's soul.The demon Mephisto wagers with God that he can corrupt a mortal man's soul.The demon Mephisto wagers with God that he can corrupt a mortal man's soul.
- Awards
- 3 wins
Gösta Ekman
- Faust
- (as Gösta Ekmann)
Frida Richard
- Mutter
- (as Frieda Richard)
William Dieterle
- Valentin
- (as Wilhelm Dieterle)
Eric Barclay
- Herzog
- (as Eric Barcley)
Hans Brausewetter
- Farmboy
- (uncredited)
Lothar Müthel
- Friar
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaDue to the success of F.W. Murnau's previous film, The Last Laugh (1924), the studio promised him an unlimited budget with which to make this film.
- Alternate versionsThere were several versions created of Faust, several of them prepared by Murnau himself. The versions are quite different from one another. Some scenes have variants on pace, others have actors with different costumes and some use different camera angles. For example, a scene with a bear was shot with both a person in costume and an actual bear. In some versions, the bear simply stands there. In one version, it actually strikes an actor. Overall, five versions of Faust are known to exist out of the over thirty copies found across the globe: a German original version (of which the only surviving copy is in the Danish Film Institute), a French version, a late German version which exists in two copies, a bilingual version for Europe prepared by Ufa, and a version prepared by Murnau himself for MGM and the US market (July 1926).
- ConnectionsEdited into Histoire(s) du cinéma: Fatale beauté (1994)
Featured review
I think of Murnau's Faust as a masterpiece not only of cinema, but of the human imagination. I understand that reviews at the time of its premier were lukewarm, but I honestly can't imagine not feeling grateful for the opportunity to see this film today. Moments and images from it are so powerful, they are vivid in the mind years after seeing them -- two hours in a dream world.
The flying sequence has been commented-on more than once, and with good reason. It is a spectacular series of shots wherein the camera tracks through long miniature sets which gradually change from a dense cluster of medieval rooftops and steeples, to a tortuous countryside of mountain peaks and snake-like rivers, twisted trees, deep gorges with plunging waterfalls and stone cliffs, rapids, a field of long grass, elaborate renaissance architecture and an Italianate palace. Along the way there is an encounter with grotesque elongated black birds in the sky, their wings flapping in unison. The sets incorporate running water (with little bits of smoking material floating in the rapids to simulate splashes and spray), an illuminated moon, and smoke to simulate clouds and fog. The whole sequence can't be much more than a couple of minutes long, but the effort to design, construct and coordinate the sequence must have been staggering. The following palace scene is set on a huge multi-level set with female dancers stretching off into the distance. They are there for no better reason than to establish an atmosphere of sumptuous decadence, and young Faust arrives in the middle of this riding between two enormous elephants, which seem to be entirely artificial and crafted of fabric, wire, etc. So it goes throughout the production. Almost every scene is a feast for the eyes, and the darker scenes are vividly expressionistic in design.
The acting is the old-fashioned silent-movie variety of big operatic gestures and vivid facial expression. It may seem odd to those not used to it, but it is NOT an example of ham actors overdoing it. This was a legitimate style of acting in its time, and offers genuine artistic beauty to those who can manage to appreciate it.
The fact that there seems to be no video version of `Faust' at the time of this posting is criminal. Ditto for Murnau's "Sunrise." These things should NEVER be out of print.
The flying sequence has been commented-on more than once, and with good reason. It is a spectacular series of shots wherein the camera tracks through long miniature sets which gradually change from a dense cluster of medieval rooftops and steeples, to a tortuous countryside of mountain peaks and snake-like rivers, twisted trees, deep gorges with plunging waterfalls and stone cliffs, rapids, a field of long grass, elaborate renaissance architecture and an Italianate palace. Along the way there is an encounter with grotesque elongated black birds in the sky, their wings flapping in unison. The sets incorporate running water (with little bits of smoking material floating in the rapids to simulate splashes and spray), an illuminated moon, and smoke to simulate clouds and fog. The whole sequence can't be much more than a couple of minutes long, but the effort to design, construct and coordinate the sequence must have been staggering. The following palace scene is set on a huge multi-level set with female dancers stretching off into the distance. They are there for no better reason than to establish an atmosphere of sumptuous decadence, and young Faust arrives in the middle of this riding between two enormous elephants, which seem to be entirely artificial and crafted of fabric, wire, etc. So it goes throughout the production. Almost every scene is a feast for the eyes, and the darker scenes are vividly expressionistic in design.
The acting is the old-fashioned silent-movie variety of big operatic gestures and vivid facial expression. It may seem odd to those not used to it, but it is NOT an example of ham actors overdoing it. This was a legitimate style of acting in its time, and offers genuine artistic beauty to those who can manage to appreciate it.
The fact that there seems to be no video version of `Faust' at the time of this posting is criminal. Ditto for Murnau's "Sunrise." These things should NEVER be out of print.
- How long is Faust?Powered by Alexa
Details
- Runtime1 hour 47 minutes
- Sound mix
- Aspect ratio
- 1.33 : 1
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