The Last Laugh

F.W. Murnau's The Last Laugh features many elements of mise en scene, even though he was only trying to show the kammerspiel element of German Expressionism. I noticed in the film that there were a lot of setting elements that were simply amazing. The entire setting was a built set, which looked amazing. For example, when day changed to night, you could see light as if the sun was really rising and setting. Also, in the beginning of the film, it was given the impression that it was raining heavily, and it really looked as if was actual rain falling down on the crafted streets, there was even water pooling around the gutters as if thery were real sewers. Very impressive in my opinion. Every set detail was elaborate, and made to look realistic, made to make you believe in it. Murnau did a good job in making the set look true to form, from the streets, to the buildings, to the vehicles on set.

Another element was the characters, props, and acting. The main character was a proud doorman, who did his job well, and he was a bit vain, which showed. He had a big elaborate doorman's coat, which added to his vain personality. When he is demoted to bathroom attendant it is like he loses a bit of power as well, which is represented by a flimsy white coat that replaces his doorman's coat. When in his new enviroment, his behavor changes to more feeble gestures and movements, and none of the gentlemen he tends to treat him with much respect. The first time he is sent to his new workspace, the area beyond the glass doors down the steps to the bathroom is completely dark as if he's descending into hell, hell meaning in this sense, a place where he really doesn't want to be.

Whenever you see any of the main character's faces, they are brightly lit, so you can see their expressions and figure out what is going on. The close ups are an ideal choice to me, because you can see everybody's faces clearly, instead of from a distance. The lighting is done sensibly this way, and beautifully as well making it a nice asthetic choice. In the first ending of this film, the main character is rejected by his family and wastes away in the bathroom of the hotel. These few end scenes for this ending are dark, with a sad overcast, and his facial expressions are forlorn and lonely, which really makes you feel bad for the poor guy. Once he strikes it rich in the alternate ending, his demeanor changes once again, and he is back to the happy jolly vain person he once was and we see him dining, surrounded by things only the rich can afford--baked alaska, prime rib, etc. He is smiling, happy, and the lighthing is bright again, which shows the new lighthearted mood for the film.

The beauty about the whole thing? This is a silent film, with no title cards or subtitles, but you can still tell what is going on by way of the actors, the set, and the props, which means Murnau did his job in helping the audience understand the film.