JohnHowardReid
Copyright 10 January 1930 by Fox Film Corporation. U.S. release: 16 February 1930. 8,217 feet. 91 minutes. SYNOPSIS: A farm boy arrives in Chicago to sell his father's wheat crop, falls for a waitress, marries her and takes her home to Minnesota. His father does not approve and tries to come between the boy and his bride.NOTES: Filmed as a silent-fortunately Murnau's original cut of the movie survives-City Girl was then considerably tinkered with by studio management in order to turn it into a part-talkie, with disastrous results.
The stage play opened on Broadway at the Bijou on 20 August 1925 and ran a modestly successful 52 performances. Helen MacKellar and Buford Armitage starred; Willard Mack directed.COMMENT: Beautifully filmed, superbly acted (particularly by Charles Farrell and Mary Duncan) romance of the wheatfields, the silent version is available on an excellent DVD from Grapevine Video. The city scenes are so startling in their impressionistic (but nonetheless hectic) pace, which all comes to a charming coda when the lovers meet, we wonder what Murnau is holding in reserve to beguile us back on the farm. We're not kept long in suspense. After a lyrical introduction as the lovers run through the wheat fields, we are brought down to earth when miserly in words, deeds and manner David Torrence comes back on the scene. How these three clashing personalities resolve their differences is worked out forcefully, if a little melodramatically, but nonetheless in a satisfyingly picturesque manner, thanks equally to the consummate skill of F.W. Murnau in staging, the engrossing acting of the principals, and the superbly lit camerawork of Ernest Palmer.
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FW Murnau returns to his urban evil versus rural good theme in this visually striking but lean story involving a Minnesota farmer, a Chicago waitress and the external conflict created by their union. Hayseed Lem Tustine (Charles Farrell) is sent by his dad (David Torrence) to Chicago to sell his wheat crop at a set price. Fending off flirtation on the train he meets kate a waitress in a chaotic restaurant while the wheat price dips. After a whirlwind courtship they marry and he returns home with the a wife and bad news about the wheat. Seeing his son as a rube who lost money and now being exploited by a city girl he explodes chides and emasculates the son. When the help shows up to harvest the wheat they get an eyeful of Lem's wife and like what they see. Things really take a turn for the worse when the crop is threatened and the bunk house boys rebel.Given their similar theme and settings City Girl cannot avoid comparison to Murnau's classic Sunrise and while it does not rise to its stature, it retains his outstanding use of film language. Once again we have one of cinema's great visual storytellers unfold in image after image scenes of magnificent panorama and intense emotional close-up conveyed without utterance of a word. Scenes such as the camera riding on the wagon with the reapers and in a moment that teems with ironic beauty the arrival of the newlyweds in the wheat field at the farm glow with vitality and movement under the masterly hand of Murnau..Mary Duncan as Kate is a restrained Swanson who has her best scenes with the stern, violent father played by David Torrence in a restrained version of his bro Ernest. Edith Yorke cowers and frets as ma while Richard Alexander as Mac excels as a harboring menace. Charles Farrell is mealy and spineless in a reprise of his Sunrise character in the throes of moral dilemma but without that dark side his performance annoys.Flaws exist with some slow moments midway, the improbable actions of the hired hands and the father's stifling character limits the stories growth but Murnau for the most part provides us with more than a few gripping moments while deepening the cynicism and lasciviousness of his cast with expressive and informative closeups with little reliance on title cards. It is a thin story lushly told by a master.
ironhorse_iv
Being a fan of F.W Murnau's horror films, like 1922's Nosferatu & 1926's Faust. I found the movie to be a bit disappointing. Don't get me wrong, I love his films that picturization the harsh realities of life, such in the case of 1924's the Last Laugh, but this movie is just a nearly a mirror image of his previous well-made film, 1927's Sunrise. While, Sunrise had a complex story, that mixed melodrama, romantic and thriller, well. This movie sadly didn't live up to that. Based on the play "The Mud Turtle" by Elliott Lester. The movie tells the story of a young woman, Kate (Mary Duncan), a waitress in a busy Chicago lunchroom who lives a dreary city life. She dreams of escaping the depressing realism city terms and returning to the romanticism beliefs of the countryside. She sees Lem Tustine (Charles Farrell) as her way out. Lem is a naïve and sweet-natured farm boy who has been sent to the city to sell his family's wheat crop. Over the course of a few visits, they fall in love, marry, and set out for the wheat-fields. Kate find out first-hand, that country life isn't what she dreamt, it could be, as Lem's harsh, tyrannical father (David Torrence), run and work his farm-hands hard in a nearly fascist dictator state. Can Kate survive farm-life, or will she leave back for the city? All of the acting is pretty well-done. Due to the director inability to secure the services of Sunrise star Janet Gaynor. The director was forced by the studio to substitute for Mary Duncan. She was chosen reportedly because she was the girlfriend of one of the Fox executives. I was disappointed to read that Mary Duncan gave up the profession just a couple of years after this movie wrapped as she had real star quality. Charles Farrell had a longer lasting career, before going into politics. He end, being the mayor of Palm Springs for a while. Both leads deliver tremendous performances in City Girl. David Torrence plays the formidable father figure with great vigor and is terrifying. His constant scowl works to overshadow the central romance. Still, his character never made much sense in the reason, why he is angry. The whole ending turn seem unrealistic, and unexplained as hell. Richard Alexander as Mac, the quietly devious but charming, love interesting/rival was alright for the most part. One thing, that the film seem to missing was the German Expressionism. Everything, here seems to be made in the style of American filmmaking. Gone are the exaggerated, fairy-tale world city sets that made movies like Sunrise stand out. Everything here was indeed control by the lower budget due to the Great Depression. The city sets were nearly limited to two scenes in a small studio. One is the busy diner, where Murnau captures city life as a bustling and crowded, as every extra seems in a rush to get to one place or another without showing much of the city landscape. Two is the apartment that Kate lives. Her apartment looks out over flashing neon signs and an elevated railway just inches from her window is thrown in for good measure. I was really hoping for more than that. The country sequences are poorly lit with characters using oil lamps in order to navigate the house and fields at night. There were a few impressive tracking shots, but for the most part. It wasn't used due to the change in locations. F.W Murnau wanted it in Minnesota, but due to budget, it was filmed in Oregon. You truly don't see much of the landscape in this film. F.W Murnau always used forced perspective in most of his films, but in this film. It was indeed, missing. Director F.W. Murnau wanted the title of the film to be "Our Daily Bread", but the studio refused, as the title might offended Christians watching the film. City Girl went on somewhat call 'the Intruder' in French cinemas due to misunderstand in language of the plot as people thought it was a murder mystery like Sunrise. City Girl was made in a time, where silent films were falling out of fashion for 'talkies' movies. While, the film, which had been shot silent. The studio scheduled to have parts of it re-shot with sound. Murnau refused, wanting nothing to do with "talkies". Due to this and other clashes with the Fox studio, he left the picture before it was completed. An assistant director finished it. A version of the film, with some sound elements, was made alongside the silent version, but was lost over time. As of this writing, the silent version is the only copy of this film. So indeed, the final product perhaps was Murnau's vision and its shows. Since the movie is a public domain silent film. The score of the film differs by copy. Arthur Kay's original score might be missing in some of them. Depending on your copy, Christopher Caliendo might be yours. Its feature an upbeat, fast tempo but jolting score which captures the frenetic stop-start pace of city life and more apathetic pace for the country. It's the best version. The movie was indeed cut as there are 90 minutes versions, and 77 minute ones. For an old silent film, most of the copies are surprising well restored. There are a few dirt on the film, but for the most part, nice and clean. Look for the Masters of Cinema Blu-Ray version or 20th Century Fox - Region 1 for the best copies. Overall: City Girl a great example about love and the struggle between rural life and urbanization. It's a paradoxical retelling of the fable of the city rat versus rat fields.
jery-tillotson-1
I was so astonished by this movie that as soon as "The End" came up, I started watching it all over again. For one thing, the restoration of this forgotten classic was so stunning it was like watching a black and white movie made an hour ago. Each scene simply glowed with amazing grays and whites and charcoals. Mary Duncan as the 'City Gir' was absolutely enchanting. She was a sweet, young girl who was also feisty and was so believable and likable that she became someone you'd love to know. The movie's great loss is that she made only one other movie, 'Morning Glory" before leaving the screen to marry millionaire polo player. She only died recently at the age of 92 She was matched by silent screen great Charles Farrell who had t difficult role of Lem, who was also simple, sweet but manly, too. Although released in l930, this film confirms how incredibly smooth and profound silent movies had become. Director Murnau brilliantly cast and directed this amazing drama--proving to one and all what a profound loss silent movies became when they were overtaken by those noisy talkies. You should definitely check out this masterpiece and be amazed
