City Girl - Masters of Cinema
What?
The long and illustrious career of fêted director F.W Murnau didn’t begin in Hollywood. To be sure, he played a very active role in the rise of German cinema with his immortal rendition of Bram Stoker’s "Dracula." "Nosferatu," made in 1922 still prevails today as perhaps the most terrifying of all vampire incantations. Murnau’s work didn’t stop there. After a multitude of success in Europe, Hollywood producers saw his genius with “Last Laugh” and his cameraman Carl Freund resourceful use of the camera—something the French New Wavers would replicate. Hosting it up on a ladder, tying it to the midsection, and running the camera around on a trolley were all things that—until that time—had been unheard of in film. Subsequently, Murnau was lead away from Europe to sunny California. Murnau’s brilliance perpetuated itself with other adorned achievements. Namely two films about love: one, "Sunrise" and the other "City Girl." While "Sunrise" was more, shall we say, optically expressive, "City Girl" has several different, yet equally good, attributes in support of it. Being silent, made in 1930, and totally black-and-white may turn off new comers, however these characteristics distinguish a special kind of visual storytelling and charismatic on screen chemistry of the two lovers. A cinematically amorous depiction of a unique individual pair from different worlds falling in love, “City Girl’s” vivacious influence on romantic comedies or Rom-Com’s has been almost too obvious. When the son of a hardened farmer must go from his country home into the big city to sell this season’s crop, he becomes enamored with a city girl named Kate. After a clever role reversal of Kate coming to the farm, both her and Lem (our handsome leads) realize that country life can often times be more complicated than city life.
With an absolutely ravishing musical score by Christopher Caliendo done in 2008, inventive camera work, opulent cinematography, and audacious performances, "City Girl" remains an affectionate love story that has an eternally endearing quality.
Optics:
Had there been any doubts regarding Eureka’s handling of the Master’s of Cinema series, they should be laid to rest by now. A highly filmic presentation that includes everything from streaks, befitting grain, and some print debris, “City Girl” has aged considerably well for a filmed produced in the early part of the roaring 1920’s. My major concern, of course, was for any black-and-white picture and contrast levels. Thankfully, these were of no problem whatsoever. Blacks appear profoundly satisfying while the whites give off a brightened, clean look. Even the title cards have a renewed sense of depth. The cinematographic shadow play and “mood” lighting set a flattering expressionistic touch that worked especially well in conjunction with the sheer astonishing musical score. Eureka’s affectionate care is evident and shows just how important this company is to the Blu-ray format. They worked wonders for “City Girl” and I can’t wait to see what they come out with down the line.
Sonics:
I never thought a silent film could sound as good as this. The DTS-HD Master Audio 5.1 mix produces the lilting yet powerful score on all fronts. Christopher Caliendo’s 2008 rendition is very well balanced and speaks volumes for the characters on screen—literally giving them voices. Every portion of my surround sound system felt fully utilized to it’s near max. Bass, stage, and field are all correlated seamlessly together to invoke an all-encompassing score for the ages. If, for whatever preconception there may be, you think that silent cinema is dull or boring, you’re dead wrong. I hung on ever scene thanks a lot in part to the score. “City Girl’s” lossless five-channel sound is just as important and well crafted as the stunning visuals. Color me hugely impressed!
Extras:
Maybe more could have been added in the way of bonuses, though I’m quite contented with what’s incorporated. A commentary, the new 2008 score by Christopher Caliendo (not really an extra, but an additional revision to the film), and booklet all compliment one another nicely yet they don’t equal a whole heck of a lot to be honest. Still, the quality—not quantity—is first-class from top to bottom!
Well?
It’s difficult for me to rank “City Girl” against other F.W. Murnau classics. Each one of his films has become just as unique as the director himself. What isn’t difficult though is giving praise to such a notable motion picture experience. Eureka had a host of issues to content with which included not only the age of the print, but the black-and-white contrast, and the fact that it’s a silent film. Well, their Masters of Cinema series continues to excel in the face of adversity. I congratulate the studio once more for taking on such a serious project as “City Girl” and producing revolutionary results. If you’ve never seen a silent picture before or were unimpressed by them in the past, than “City Girl” will likely be able to change your mind.
I’ll just ask you nicely…acquire this. It’s for your own good.
Grant Iwan
The long and illustrious career of fêted director F.W Murnau didn’t begin in Hollywood. To be sure, he played a very active role in the rise of German cinema with his immortal rendition of Bram Stoker’s "Dracula." "Nosferatu," made in 1922 still prevails today as perhaps the most terrifying of all vampire incantations. Murnau’s work didn’t stop there. After a multitude of success in Europe, Hollywood producers saw his genius with “Last Laugh” and his cameraman Carl Freund resourceful use of the camera—something the French New Wavers would replicate. Hosting it up on a ladder, tying it to the midsection, and running the camera around on a trolley were all things that—until that time—had been unheard of in film. Subsequently, Murnau was lead away from Europe to sunny California. Murnau’s brilliance perpetuated itself with other adorned achievements. Namely two films about love: one, "Sunrise" and the other "City Girl." While "Sunrise" was more, shall we say, optically expressive, "City Girl" has several different, yet equally good, attributes in support of it. Being silent, made in 1930, and totally black-and-white may turn off new comers, however these characteristics distinguish a special kind of visual storytelling and charismatic on screen chemistry of the two lovers. A cinematically amorous depiction of a unique individual pair from different worlds falling in love, “City Girl’s” vivacious influence on romantic comedies or Rom-Com’s has been almost too obvious. When the son of a hardened farmer must go from his country home into the big city to sell this season’s crop, he becomes enamored with a city girl named Kate. After a clever role reversal of Kate coming to the farm, both her and Lem (our handsome leads) realize that country life can often times be more complicated than city life.
With an absolutely ravishing musical score by Christopher Caliendo done in 2008, inventive camera work, opulent cinematography, and audacious performances, "City Girl" remains an affectionate love story that has an eternally endearing quality.
Optics:
Had there been any doubts regarding Eureka’s handling of the Master’s of Cinema series, they should be laid to rest by now. A highly filmic presentation that includes everything from streaks, befitting grain, and some print debris, “City Girl” has aged considerably well for a filmed produced in the early part of the roaring 1920’s. My major concern, of course, was for any black-and-white picture and contrast levels. Thankfully, these were of no problem whatsoever. Blacks appear profoundly satisfying while the whites give off a brightened, clean look. Even the title cards have a renewed sense of depth. The cinematographic shadow play and “mood” lighting set a flattering expressionistic touch that worked especially well in conjunction with the sheer astonishing musical score. Eureka’s affectionate care is evident and shows just how important this company is to the Blu-ray format. They worked wonders for “City Girl” and I can’t wait to see what they come out with down the line.
Sonics:
I never thought a silent film could sound as good as this. The DTS-HD Master Audio 5.1 mix produces the lilting yet powerful score on all fronts. Christopher Caliendo’s 2008 rendition is very well balanced and speaks volumes for the characters on screen—literally giving them voices. Every portion of my surround sound system felt fully utilized to it’s near max. Bass, stage, and field are all correlated seamlessly together to invoke an all-encompassing score for the ages. If, for whatever preconception there may be, you think that silent cinema is dull or boring, you’re dead wrong. I hung on ever scene thanks a lot in part to the score. “City Girl’s” lossless five-channel sound is just as important and well crafted as the stunning visuals. Color me hugely impressed!
Extras:
Maybe more could have been added in the way of bonuses, though I’m quite contented with what’s incorporated. A commentary, the new 2008 score by Christopher Caliendo (not really an extra, but an additional revision to the film), and booklet all compliment one another nicely yet they don’t equal a whole heck of a lot to be honest. Still, the quality—not quantity—is first-class from top to bottom!
Well?
It’s difficult for me to rank “City Girl” against other F.W. Murnau classics. Each one of his films has become just as unique as the director himself. What isn’t difficult though is giving praise to such a notable motion picture experience. Eureka had a host of issues to content with which included not only the age of the print, but the black-and-white contrast, and the fact that it’s a silent film. Well, their Masters of Cinema series continues to excel in the face of adversity. I congratulate the studio once more for taking on such a serious project as “City Girl” and producing revolutionary results. If you’ve never seen a silent picture before or were unimpressed by them in the past, than “City Girl” will likely be able to change your mind.
I’ll just ask you nicely…acquire this. It’s for your own good.
Grant Iwan
Director:
F.W. Murnau
Starring:
Charles Farrell
Mary Duncan
David Torrence
Edith Yorke
Anne Shirley
Tom McGuire
Richard Alexander
Best line:
"Get busy!"
Tagline:
"William Fox Presents: City Girl"
Description:
Eureka
UK
Region free
Not rated
1Hr 30 Min
1.19:1
MPEG-4/AVC/25GB
DTS-HD MA 5.1
(English)
Subtitles: Eng
Audio commentary by David Kalat
Booklet
Ratings: (Out of 10)
Film 9.0
Optics 10.0
Sonics 10.0
Extras 8.0
Overall 10.0
