A landmark work in the history of the cinema, Der letzte Mann represents a breakthrough on a number of fronts. Firstly, it introduced a method of purely visual storytelling in which all intertitles and dialogue were jettisoned, setting the stage for a seamless interaction between film-world and viewer. Secondly, it put to use a panoply of technical innovations that continue to point distinct ways forward for cinematic expression nearly a century later. The lesson in all this? That a film can be anything it wants to be... but only Der letzte Mann (and a few unforgettable others) were lucky enough to issue forth into the world under the brilliant command of master director F. W. Murnau. His film depicts the tale of an elderly hotel doorman (Emil Jannings) whose superiors have come to deem his station as transitory as the revolving doors through which he has ushered guests in and out, day upon day, decade after decade. Reduced to polishing tiles beneath a sink in the gents' lavatory and towelling the hands of Berlin's most vulgar barons, the doorman soon uncovers the ironical underside of old-world hospitality. And then - one day - his fate suddenly changes...
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