Film Analysis: The Last Laugh

Der Letzte Mann, The Last Laugh, was one of the films that portrayed what is called extreme realism. This theme specifically was introduced in the 1920s as a part of the German Expressionist movement. It was created during World War I due to the banning of foreign films. In Der Letze Mann, Director F. W. Murnau, did the unthinkable by having a silent film with no title cards; this challenged the audience to completely focus on the detail within the frames. Many German films in this time period beginning, in the early 1910s, used props and environments to enhance its dramatic styles.

This process ended up being very successful for most films during this movement such as Das Cabinet des Dr. Caligari (The Cabinet of Dr. Caligari). The director, Robert Wiene used many angular designs to create a very weird and unsettling world. As dramatic as Wiene’s scenery was, Murnau created the same type unsettling feeling by capturing the intense and sometimes unsettling expressions on the face of the Bellhop. Towards the end of the film, where we see the Bellhop in the bathroom against the back wall, Murnau uses the single light from the light box to give a heavy contrasted look to enhance the devestation of the bellhop.

Murnau takes this common story of a man in his most noble position, who later crumbles into his pit of shame, and magnifies it so that the viewer becomes personally intrigued with the life of the character. In the beginning of the film, we literally see the Bellhop in his most glorious state. Where he takes pride in his appearance, as well as his job. However, it isn’t until we’ve met in the office of the hotel manager where we see him physically transform from into the state of self-worthlessness. This one scene alone is the height and the center point of the characters transformation.

The Bellhop does his best to convince himself that he is right to continue in his bellhop duties by picking up the suitcase in the corner of the office where he miserable fails to hold it in the air. As this suitcase tumbles to the ground, so does the Bellhop, along with his self-pride and dignity. At this fall, we see his appearance go from tamed, to out of control and is on a steady decline throughout the film. This is also where he crosses over into a state of desperation and as he walks down the hall of shame. This is literally depicted as he is being escorted down the hallway with his head hanging down as he passes the people eyeing him from the window. The Bellhop has now officially fallen into a state where he realizes that he has ultimately failed himself. Where he is separated from his most prized possession, his uniform.

Later on, he chooses to steal back his uniform, as it seems to hold the power of the former Bellhops success and happiness. While we see him with this uniform, an alleged accomplishment does nothing but unsettle the viewer and we watch buildings lean in over him. However, the former Bellhop returns his jacket, as if he finally accepts his demotion. Murnau used close up shots and a focused lighting to drastically to enhance the intense facial expressions by the Bellhop.

Also, by working with a lot of close up and medium shots, the entire character transformation becomes much more personal to the viewer.