Screening at The Old Rep Theatre, with a new live score composed by Matt Eaton and Gareth Jones, as part of the Flatpack Film Festival in Birmingham
Seeing a a new score performed against a nearly century old film is an indescribably wonderful experience, animating the carnival sensation of life in the town and the elemental forces of the storm, giving the film a new life. It’s a little modern compared to other scores – but it works incredibly well. I could almost feel the music go through me – hopefully I’ll have a similar positive experience when I see John Carpenter play live later in the year.
Faust is a far cry from Christopher Marlowe’s Doctor Faustus (1592), repeated over and over through A-Level English Lit classes. Because Marlowe didn’t have Mephisto mixing cocktails with a woman who would very much like to fuck him. Honestly, I think I prefer Murnau’s rendition of the myth.
Rather than the younger man of Marlowe’s play, ageing for decades before Mephistopheles finally pulls him down to Hell, here Faust is an old man, tempted by Mephisto to reclaim his youth (and by extension a romance with Gretchen.) Marlowe damned Faustus with inevitable eternal damnation, yet Murnau redeems Faust.
Faust never has a sense of the truly irredeemable: Mephisto tricks him, rather than tempting him outright. All Faust wants to do is bring life back to the town he loves in the face of death. He becomes a ‘miracle maker’ in the same vein as Jesus, but is then rejected by society like Frankenstein was when they find he cannot face the cross (because Faust is definitely a vampire.) Gretchen is also ostracised by society, left to freeze to death with her baby, before a group of knights condemn her as a “baby murderer” and burn her to death. Because these are definitely Christian values. Faust seeks power through the wrong means, not entitled to godly powers as a mortal, but he is admirable. He does not want the wenches or the orgies or the crown that Mephisto tempts him with: all he wants is a normal life of good.
The visuals are the other important aspect of this film. Visually stunning, we are entranced within the heavenly battle between an angel and Mephisto; between good and evil. Humanity is reduced to mere ants, able to be wiped out through one storm through the power of Mephisto. The planets become tiny globes. Murnau animates words, coming to life in emphasis. The universal concept, love, stands out, moving towards the screen. Over the mountains, the superimposed Gretchen screams out, to be heard by Faust. Faust and Mephisto float in the air over trees and rivers over to the palaces in Italy – an image that every adaptation of A Christmas Carol (1843) must have taken influence from.