''The Last Laugh'' (german: Der letzte Mann, ) is a 1924 German silent film directed by German director

F. W. Murnau Friedrich Wilhelm Murnau (born Friedrich Wilhelm Plumpe; December 28, 1888March 11, 1931) was a German film director, producer and screenwriter. He was greatly influenced by Schopenhauer, Nietzsche, Shakespeare and Ibsen plays he had seen at th ...

from a screenplay written by

Carl Mayer Carl Mayer (20 November 1894 – 1 July 1944) was an Austrian screenwriter who wrote or co-wrote the screenplays to ''The Cabinet of Dr. Caligari'' (1920), ''The Head of Janus'' (1920), '' The Haunted Castle'' (1921), '' Der Letzte Mann'' (192 ...

. The film stars

Emil Jannings Emil Jannings (born Theodor Friedrich Emil Janenz, 23 July 1884 – 2 January 1950) was a Swiss born German actor, popular in the 1920s in Hollywood. He was the first recipient of the Academy Award for Best Actor for his roles in '' The L ...

and

Maly Delschaft Martha Amalia "Maly" Delschaft (4 December 1898 – 20 August 1995) was a German stage and film actress. After beginning in theatre, Delschaft switched to silent films. She appeared in mainly supporting roles during the Weimar and Nazi eras. After ...

Stephen Brockmann summarized the film's plot as, "a nameless hotel doorman loses his job".Prager, Brad. A critical history of German film. Monatshefte, Volume 103, No. 3 (Fall 2011), pp. 472-474; (p.473) It is a cinematic example of the ''

Kammerspielfilm ''Kammerspielfilm'' is a type of German film that offers an intimate, cinematic portrait of lower middle class life. History The name derives from a theater, the '' Kammerspiele'', opened in 1906 by a major stage director Max Reinhardt to stage ...

'' or "chamber-drama" genre, which follows the style of short, sparse plays of lower middle-class life that emphasized the psychology of the characters rather than the sets and action. The genre tried to avoid the intertitles (title cards) of spoken dialogue or description that characterize most silent films, in the belief that the visuals themselves should carry most of the meaning. In 1955, the film was remade starring Hans Albers. The film was voted number 11 on the prestigious Brussels 12 list at the 1958 World Expo.

Plot

Jannings' character is a doorman for a famous hotel, who takes great pride in his work and position. His manager decides that the doorman is getting too old and feeble to present the image of the hotel, and so demotes him to a less demanding job, of washroom attendant. He tries to conceal his demotion from his friends and family but, to his shame, he is discovered. His friends, thinking he has lied to them all along about his prestigious job, taunt him mercilessly while his family rejects him out of shame. The doorman, shocked and in incredible grief, returns to the hotel to sleep in the washroom where he works. The only person to be kind towards him is the night watchman, who covers him with his coat as he falls asleep. Following this comes the film's only title card, which says: "Here our story should really end, for in actual life, the forlorn old man would have little to look forward to but death. The author took pity on him, however, and provided quite an improbable epilogue." At the end, the doorman reads in the newspaper that he inherited a fortune from a Mexican millionaire named A. G. Money, a patron who died in his arms in the hotel washroom. The doorman returns to the hotel, where he dines happily with the night watchman who showed him kindness. On their way to the carriage, the doorman gives tips to all the service personnel from the hotel, who quickly line up along his way. In the final scene of the film, when both the doorman and the night watchman are in the carriage, a beggar asks the doorman for some money. The doorman invites the beggar to the carriage and even gives a tip to the new doorman, who is now in charge of bringing the guests inside.

Cast

as hotel doorman *

as his niece *

Max Hiller Max Hiller (8 December 1889 – 17 December 1948) was a German stage and film actor. He appeared in more than thirty films from 1917 to 1948. Selected filmography References External links * 1889 births 1948 deaths German male film ...

as her bridegroom * Emilie Kurz as bridegroom's aunt *

Hans Unterkircher Hans Unterkircher (22 August 1894 – 27 May 1971) was an Austrian stage and film actor and film director. He appeared in more than 60 films between 1916 and 1971. He was born in Graz, Austria and died in Vienna, Austria. Selected filmograph ...

as hotel manager *

Olaf Storm Olaf Storm, pseudonym of Kurt Theodor von Kann (10 January 1894 – 11 or 12 March 1931) was a German film actor of the silent era. Storm was a star of early German cinema, playing the lead in films such as '' The Stranger from Alster Street'' a ...

as young guest *

Hermann Vallentin Hermann Vallentin (24 May 1872 – 18 September 1945) was a German actor. Biography Hermann Vallentin was born in Berlin in 1872. He was the son of a Jewish timber merchant and factory owner, Felix Vallentin. He was the older brother of actres ...

as guest with pot belly *

Georg John Georg John (born Georg Jacobsohn; 23 July 1879 – 18 November 1941) was a German stage and film actor. Early life Georg Jacobsohn was born into a Jewish household in Schmiegel, Province of Posen, Imperial Germany. Career John began his c ...

as night watchman *

Emmy Wyda Emmy Wyda (2 March 1876 – 22 January 1942) was a German actress. She appeared in more than eighty films from 1913 to 1941. Selected filmography References External links * 1876 births 1942 deaths German film actresses German si ...

as thin neighbor

Production

Director F. W. Murnau was at the height of his film career in Germany and had high ambitions for his first film with

UFA Ufa ( ba, Өфө , Öfö; russian: Уфа́, r=Ufá, p=ʊˈfa) is the largest city and capital of Bashkortostan, Russia. The city lies at the confluence of the Belaya and Ufa rivers, in the centre-north of Bashkortostan, on hills forming the ...

.Wakeman, John. World Film Directors, Volume 1. The H.W. Wilson Company. 1987. p.813. He stated that "All our efforts must be directed towards abstracting everything that isn't the true domain of the cinema. Everything that is trivial and acquired from other sources, all the tricks, devices and cliches inherited from the stage and from books."Wakeman, John. World Film Directors, Volume 1. The H. W. Wilson Company. 1987. pp. 811. Murnau called screenwriter

someone who worked in "the true domain of the cinema" and agreed to make ''Der letzte Mann'' after Mayer and film director

Lupu Pick Lupu Pick (2 January 1886 – 7 March 1931) was a German actor, film director, producer, and screenwriter of the silent era. He appeared in 50 films between 1910 and 1928. Born in Romania, Pick's father was a Jewish Austrian,Hans Morgenst ...

fought and Pick left the film.Wakeman. pp. 812. The film famously uses no intertitles, which had previously been done by Mayer and Pick on '' Scherben'' and ''

Sylvester Sylvester or Silvester is a name derived from the Latin adjective ''silvestris'' meaning "wooded" or "wild", which derives from the noun ''silva'' meaning "woodland". Classical Latin spells this with ''i''. In Classical Latin, ''y'' represented ...

'' several years earlier, as well as by director

Arthur Robison Arthur Robison (June 25, 1883 – October 20, 1935) was a German film director and screenwriter of the silent era. He directed 20 films between 1916 and 1935. Selected filmography * '' A Night of Horror'' (1916) * ''What Belongs to Darkness ...

in the film '' Schatten'' in 1923. The film was shot entirely at the UFA Studios. Murnau and cinematographer

Karl Freund Karl W. Freund, A.S.C. (January 16, 1890 – May 3, 1969) was an Austrian cinematographer and film director best known for photographing ''Metropolis'' (1927), ''Dracula'' (1931), and television's ''I Love Lucy'' (1951-1957). Freund was an innov ...

used elaborate camera movements for the film, a technique later called "'' entfesselte Kamera''" (unchained camera). In one scene a camera was strapped to Freund's chest as he rode a bicycle into an elevator and onto the street below. In another scene a camera is sent down a wire from a window to the street below, and later reversed in editing. French filmmaker Marcel Carné later said that "The camera...glides, rises, zooms or weaves where the story takes it. It is no longer fixed, but takes part in the action and becomes a character in the drama." Years later Karl Freund dismissed Murnau's contributions to the films that they made together, claiming that Murnau had no interest in lighting and never looked through the camera, and that "Carl Mayer used to take much more interest than he did in framing." The film's set designers Robert Herlth and

Walter Röhrig Walter Röhrig (13 April 1897 – 1945) was a German art director.Stephens p.163 Selected filmography * '' The Cabinet of Dr. Caligari'' (1920) * ''Masks'' (1920) * ''Parisian Women'' (1921) * '' Island of the Dead'' (1921) * ''Miss Julie'' (192 ...

denied this statement and defended Murnau. Murnau described the film's cinematography as being "on account of the way... bjectswere placed or photographed, their image is a visual drama. In their relationship with other objects or with the characters, they are units in the symphony of the film." Murnau noted that the story was absurd on the grounds that "everyone knows that a washroom attendant makes more than a doorman." The signs in the film are written in an imaginary language that

Alfred Hitchcock Sir Alfred Joseph Hitchcock (13 August 1899 – 29 April 1980) was an English filmmaker. He is widely regarded as one of the most influential figures in the history of cinema. In a career spanning six decades, he directed over 50 featur ...

took as

Esperanto Esperanto ( or ) is the world's most widely spoken constructed international auxiliary language. Created by the Warsaw-based ophthalmologist L. L. Zamenhof in 1887, it was intended to be a universal second language for international commun ...

. It mentions the words ''Etali'' and ''Farina'' as examples of Esperanto signs. It references itchcock's famous interview with François Truffaut. There were three different versions of the film, for German, American and international audiences.

Film and artistic technique

The moving of the location of the camera, blurring of a part of the screen, focusing and defocusing, combined with using different angles, contributed to creating new perspectives and impressions of the viewers.Franklin, James, C. Teaching culture through film: Der letzte Mann. Die Unterrichtspraxis/Teaching German. Volume 13, No. 1 (Spring 1980), p. 35, pp. 31-38. The montage that was used in putting the scenes together was also pioneering: Murnau's technique was to use a smooth and rapid cutting in the initial scenes followed by jarred cutting in the scenes where the doorman becomes humiliated. A combination of distortion and overlapping of images was used in the scenes illustrating private vision of the drunk doorman.Figge, Richard, C. Montage: The German film of the Twenties. Penn State University Press. URL: https://www.jstor.org/stable/40246138. Accessed 6 March 2013. The cameramen provided enhancements to Jannings's creative use of body language by using close ups and camera angles that encouraged the viewer to see the events from the doorman's perspective. Decorations and presentation of contrasting environments were also significant in creating the impression. The contrast between the rich environment of the Atlantic hotel and the lower class housing, gives an impression of a realistic presentation of situations. The decorators for ''Der letzte Mann'' were Robert Herlth and Walter Röhrig.Franklin, James, C. Teaching culture through film: Der letzte Mann. Die Unterrichtspraxis/Teaching German. Volume 13, No. 1 (Spring 1980), p. 34, pp. 31-38. Another use of contrast was the illustration of the respect and essentially the power of the uniform combined with the ridicule and disregard which the doorman experienced after his demotion. The power of the uniform in the German culture was analyzed in a scholarly article by Jon Hughes.Hughes, Jon. 'Zivil ist allemal schadlich'. Clothing in German-language culture of the 1920s. Neophilologus, Volume 88 (2004), p. 439, pp. 429-445. Wearing of a uniform appears to enhance masculinity of the person and provides some institutional power, as the wearer identifies himself/herself with the corresponding institution. Therefore, a uniform provides personal confidence and the respect of others, as illustrated in ''Der letzte Mann''. The quick ascension of the Nazis to power could also be attributed to their widespread use of uniforms.Hughes, Jon. 'Zivil ist allemal schadlich'. Clothing in German-language culture of the 1920s. Neophilologus, Volume 88 (2004), p. 444, pp. 429-445. The film ''Der letzte Mann'' illustrates clearly this effect of self-confidence and personal/institutional power as connected to wearing of a decorated uniform.

Historical context

The film was made in 1924, at the time of the

Weimar Republic The Weimar Republic (german: link=no, Weimarer Republik ), officially named the German Reich, was the government of Germany from 1918 to 1933, during which it was a constitutional federal republic for the first time in history; hence it is al ...

. The war reparation payments imposed on Germany caused skyrocketing inflation, economic collapse, food shortages, poverty, malnutrition and hunger.Franklin, James C. "Teaching culture through film: Der letzte Mann." ''Die Unterrichtspraxis/Teaching German'', Volume 13, No. 1 (Spring 1980), p. 33, pp. 31-38.

Petit bourgeois ''Petite bourgeoisie'' (, literally 'small bourgeoisie'; also anglicised as petty bourgeoisie) is a French term that refers to a social class composed of semi-autonomous peasants and small-scale merchants whose politico-economic ideological sta ...

Germans were looking for some hope for improvement of their economic situation. Even such an unrealistic possibility as inheriting money from somebody else brought some hope. This need for hope and the director's knowledge of the expectations of the general public were the reasons that ''Der letzte Mann'' had a happy, although unrealistic, epilogue. German cinema began co-operative ventures with Hollywood producers, which led to mutual influence and in 1926 the German producers signed a contract with

Hollywood Hollywood usually refers to: * Hollywood, Los Angeles, a neighborhood in California * Hollywood, a metonym for the cinema of the United States Hollywood may also refer to: Places United States * Hollywood District (disambiguation) * Hollywoo ...

, which started a migration of German actors and directors to Hollywood. The effect was similar to the later-observed brain drain of scientists from all over the world to the United States.Franklin, James, C. "Teaching culture through film: Der letzte Mann." ''Die Unterrichtspraxis/Teaching German'', Volume 13, No. 1 (Spring 1980), p. 36, pp. 31-38. One of the results of this early cooperation was that director

went to Berlin and started working with Friedrich Murnau. Hitchcock was very impressed with Murnau's unchained camera techniques and stated that his cooperation with Murnau was an "enormously productive experience" and that ''Der letzte Mann'' was an "almost perfect film".Bade, James, N. "Murnau's 'The Last Laugh' and Hitchcock's subjective camera." ''Quarterly Review of Film and Video'', Volume 23 (2006), p. 257, pp. 256-266. The cooperation with Murnau was for Hitchcock essentially a "key reference point".Bade, James, N. "Murnau's 'The Last Laugh' and Hitchcock's subjective camera." ''Quarterly Review of Film and Video'', Volume 23 (2006), p. 258, pp. 256-266. Hitchcock also expressed his appreciation for Murnau's camera-points-of-view and the subjective shots which provided "audience identification" with the main character.Bade, James, N. "Murnau's 'The Last Laugh' and Hitchcock's subjective camera." ''Quarterly Review of Film and Video'', Volume 23 (2006), p. 256, pp. 256-266. The rating of ''Der letzte Mann'' in Hollywood was very high: "Hollywood simply raved about ''The Last Laugh''," noted Jan Horak.Horak, Jan. "Sauerkraut and sausages with a little goulash: Germans in Hollywood, 1927." ''Film History: An International Journal'', Volume 17, N0. 2/3 (2005), p. 242, pp. 241-260.

Reception and legacy

The film was a major critical and financial success and allowed Murnau to make two big budget films shortly afterwards. Critics praised the film's style and artistic camera movements. Film critic Paul Rotha said that it "definitely established the film as an independent medium of expression... Everything that had to be said... was said entirely through the camera...''The Last Laugh'' was cine-fiction in its purest form; exemplary of the rhythmic composition proper to the film." Years later

C. A. Lejeune Caroline Alice Lejeune (27 March 1897 – 31 March 1973) was a British writer, best known for serving as the film critic for ''The Observer'' from 1928 to 1960. She was among the earliest newspaper film critics in Britain, and one of the first B ...

called it "probably the least sensational and certainly the most important of Murnau's films. It gave the camera a new dominion, a new freedom... It influenced the future of motion picture photography... all over the world, and without suggesting any revolution in method, without storming critical opinion as '' Caligari'' had done, it turned technical attention towards experiment, and stimulated... a new kind of camera-thinking with a definite narrative end.

Lotte Eisner Lotte H. Eisner (5 March 1896, Berlin – 25 November 1983, Paris) was a German-French writer, film critic, archivist and curator. Eisner worked initially as a film critic in Berlin, then in Paris where in 1936 she met Henri Langlois with whom she ...

praised its "opalescent surfaces streaming with reflections, rain, or light: car windows, the glazed leaves of the revolving door reflecting the silhouette of the doorman dressed in a gleaming black waterproof, the dark mass of houses with lighted windows, wet pavements and shimmering puddles... His camera captures the filtered half-light falling from the street lamps... it seizes railings through basement windows." The film's story and content were also praised by critics, with Eisner stating that it "is pre-eminently a German tragedy, and can only be understood in a country where uniform is king, not to say god. A non-German mind will have difficulty in comprehending all its tragic implications."

Siegfried Kracauer Siegfried Kracauer (; ; February 8, 1889 – November 26, 1966) was a German writer, journalist, sociologist, cultural critic, and film theorist. He has sometimes been associated with the Frankfurt School of critical theory. He is notable for ...

pointed out that "all the tenants, in particular the female ones... evere the uniformas a symbol of supreme authority and are happy to be allowed to revere it." In 2000,

Roger Ebert Roger Joseph Ebert (; June 18, 1942 – April 4, 2013) was an American film critic, film historian, journalist, screenwriter, and author. He was a film critic for the ''Chicago Sun-Times'' from 1967 until his death in 2013. In 1975, Ebert beca ...

included it among his list of Great Movies.

Home media

Kino International The Kino International is a film theater in Berlin, built from 1961 to 1963. It is located on Karl-Marx-Allee in former East Berlin. It hosted premieres of the DEFA film studios until the fall of the Berlin Wall in 1989. Today it is a protecte ...

released a reconstruction of the German version and an "unrestored export version" in 2008 (the latter apparently the version used by Kino in previous releases). A bonus 40-minute documentary compares the German, American and international versions.

References

External links

* * *
Literature on The Last Laugh
*
''Der letzte Mann'' on Rotten Tomatoes
{{DEFAULTSORT:Last Laugh, The 1924 films 1924 drama films German drama films Films of the Weimar Republic German silent feature films Films directed by F. W. Murnau Films with screenplays by Carl Mayer Films set in Berlin Films set in hotels German black-and-white films German Expressionist films Films produced by Erich Pommer UFA GmbH films 1925 drama films 1925 films Silent drama films 1920s German films