kurosawakira This is it. I've so far thought of and approached Murnau more with sensible appreciation than passionate investment where I'm not only swept off my feet, but myself allow to be. "Nosferatu" (1922), "Der letzte Mann" (1924) and "Sunrise" (1927) exhibit his genius, but for some reason this works for me wholly differently. Perhaps I come to this from the right direction: "L'Atalante" (1934), "Coeur fidèle" (1923), "Der Blaue Engel" (1930), "Days of Heaven" (1978), and so on. It does feel like there has been something missing in its place, now domiciled, referred to by these films I love. Now I feel like I've always carried the film with me.You might know Murnau disliked intertitles, and I guess this would perfectly work without them, since I find the visual language even stronger and more lucid than in "Der letzte Mann", which, if you've seen that film, might be even frivolously arrogant an argument. But the way he constructs each scene to convey things visually, not only plot and "dialogue" but also atmosphere, is panoptic, personal yet fluent.The Blu-ray released by the Masters of Cinema (Region B) is shockingly wonderful in quality. I'm not partial to the Christopher Caliendo score. Someone somewhere (vague enough?) remarked how on occasion it seems like the score is competing with the image instead of complementing it and I paraphrase because there wouldn't be a better way to express how I feel about it. Indeed, I prefer seeing the film without sound – Murnau carries the film forward so eloquently, effortlessly through the image and editing that all emotion disseminates vividly. All of this is so masterful I wouldn't be too much out of my wits if I argued for this film to be among the very pinnacle of silent film – and any cinema for that matter.The scene where they first arrive together and run through the field might be the most exhilarating film moment ever.

MartinHafer While the ending of "City Girl" is rather poor, it still is a film well worth seeing, as it shows just how artful a silent film can be. While this was, for the most part, directed by the famous F.W. Murnau of "Nosferatu" fame, this film seems to have little in common with this early horror classic. Instead, it's one of Murnau's tales of the common man--something he excelled at in the late period of his too-short life.The film begins with a young man, Lem, in the big city to sell his family's wheat crop. It's obvious that his very controlling father has very little confidence in the young guy and when he returns from the trip, the jerk of a father holds two things against him. First, the price of the wheat crop was very low and he blames Lem for this. Second, Lem returns with a new bride and while it's never certain why, the father instantly hates the lady--thinking she married him for his money. Considering that the family owns a large farm, this makes little sense as I'd think few city gals would want to move to the middle of no where! In fact, the father's character is THE problem with the film. While the film is breathtaking with its rich cinematography, the angry dad never made sense---especially since late in the film he miraculously changes--welcoming his new daughter-in-law into the family!! How much of this hole-ridden plot is the fault of Murnau, I have no idea as the studio substituted another man at the helm at the last moment--and the final product perhaps was NOT his vision. I do know that artistically, what I loved about the film was undoubtedly his vision--as it bears the marks of his style. The film is simple and gorgeous from start to finish--as Murnau had quite the eye for the craft.

headly66 For it's time I'm sure The City Girl was a bawdy piece of film work what with all the sexual advances and threats of rape posed by the hired hands. I'm not sure it has lost that quality as I found the hitting of women and the lechery of the men to be quite unsettling in it's reality. The film is simple, so simple it could have been written out on a couple pieces of paper, the dialog is good, the acting fair and the lighting and music exceptional. Heavy makeup on the actors especially Charles Farrell is a bit distracting and takes away from the modernness of the images. Even though this film is from 1930 you can easily relate to the times and characters. It is an enjoyable film and a time machine back to a simpler era but the story is too predictable and a bit contrived.

zetes Murnau's third American film after Sunrise and the lost Four Devils, and his penultimate before Tabu. City Girl, of the surviving three, is the least seen. The reason for this must be its close resemblance to Sunrise, which is a masterpiece of the first order. Yes, City Girl does remind one of Sunrise in its mood and focus. A young rube from Minnesota (Charles Farrell) travels to Chicago to sell his father's wheat crop. Business-wise, the trip doesn't go well, but his romantic world blossoms when he meets up with a lonely waitress (Mary Duncan). The two marry, and the rest of the film deals with Duncan's fight for acceptance on the farm, where she faces a fierce opponent in her father-in-law (David Torrence). The film is romantic, emotionally moving and utterly beautiful. Yes, it is a lot like Sunrise, but, heck, who wouldn't want a second Sunrise? It's hardly a carbon copy, anyway, so it's like another wonderful gift. City Girl is a masterpiece, as well. I'm not the biggest fan of Murnau's German films, but his three surviving American films are probably the best proof of the sentiment that the silent cinema was at a miraculous level right when it was snuffed by sound. Murnau tragically died in an auto accident in 1931. I find it hard to imagine his work in the talkies, but I have an inkling that the cinema would be rather different if he had survived.