Richard Chatten For his Hollywood debut, 'Sunrise' (1927), F.W.Murnau famously had built an enormous set depicting a city to emphasise the impact of its size upon his visitors from the country. In 'City Girl' we see Chicago as experienced by a native inhabitant: rushed, hot and cramped. It's the country that seems vast when she steps off the train with her new husband; her first view of her new home resembling a painting by Andrew Wyeth.Unfortunately there's also her ghastly new father-in-law to be reckoned with, played by one of the terrifying Torrence brothers, David; an ornery old brute, who quickly clashes with the new arrival, leading the viewer to wonder who will murder who.The storyline is pretty basic and resolved suspiciously abruptly, but as one would expect from Murnau, the film looks magnificent, moves along lickety split, and the acting is first class (it's interesting to see among the youthful farmhands later western perennials Guinn Williams and Jack Pennick). The mood and milieu recalls Victor Seastrom's 'The Wind', and both call upon the elements to resolve their plots with a bang; in the case of 'City Girl' with a gathering hailstorm that contrives to make the bruising human conflicts that have preceded it seem trivial by comparison.

MartinHafer While the ending of "City Girl" is rather poor, it still is a film well worth seeing, as it shows just how artful a silent film can be. While this was, for the most part, directed by the famous F.W. Murnau of "Nosferatu" fame, this film seems to have little in common with this early horror classic. Instead, it's one of Murnau's tales of the common man--something he excelled at in the late period of his too-short life.The film begins with a young man, Lem, in the big city to sell his family's wheat crop. It's obvious that his very controlling father has very little confidence in the young guy and when he returns from the trip, the jerk of a father holds two things against him. First, the price of the wheat crop was very low and he blames Lem for this. Second, Lem returns with a new bride and while it's never certain why, the father instantly hates the lady--thinking she married him for his money. Considering that the family owns a large farm, this makes little sense as I'd think few city gals would want to move to the middle of no where! In fact, the father's character is THE problem with the film. While the film is breathtaking with its rich cinematography, the angry dad never made sense---especially since late in the film he miraculously changes--welcoming his new daughter-in-law into the family!! How much of this hole-ridden plot is the fault of Murnau, I have no idea as the studio substituted another man at the helm at the last moment--and the final product perhaps was NOT his vision. I do know that artistically, what I loved about the film was undoubtedly his vision--as it bears the marks of his style. The film is simple and gorgeous from start to finish--as Murnau had quite the eye for the craft.

wes-connors Minnesota country boy Charles Farrell (as Lem) goes to Chicago, to sell the family's wheat harvest. In the hectic city, he meets pretty coffee shop waitress Mary Duncan (as Kate), who longs for the simple life. The attractive pair fall blissfully in love. After marrying Ms. Duncan, Mr. Farrell takes her home to live with his country family. But, father David Torrence (as Tustine) distrusts the "City Girl", and is angry with his son for selling his wheat at an inferior price. A stern patriarch, Mr. Torrence drives a wedge between the happy couple. To make matters worse, Duncan becomes prey for some arriving reapers… This is another stunner from director F.W. Murnau ("Sunrise"), who would so tragically die in a car accident (after only one more film). "City Girl" was produced by Mr. Murnau as a "silent" ("Our Daily Bread"); but, Fox Films recalled the movie, and turned it into a "talkie". At the time, Farrell's name was rising to the upper reaches of "Box Office" star lists, but, truth be told, only Charlie Chaplin and Greta Garbo still had the power to draw audiences to a silent movie (and, even that was fading). With re-shoots, a partially talking "City Girl" was seen briefly, and forgotten.The unearthed full length silent version was, thankfully, preserved. It is a near-perfect film. Farrell, who many felt deserves some "Best Actor" recognition fro his role in "7th Heaven", outdoes himself. Murnau, photographer Ernest Palmer, set director Harry Oliver are also award-worthy. Although she looks too startlingly glamorous in the country portions, Duncan is hot in the city. No wonder leering Richard Alexander (as Mac) couldn't keep his hands off her. The entire cast performs splendidly, right down to David Rollins giving Duncan lift at work.Sequences to re-play (if not the whole movie): Farrell walking the crowded city streets, Duncan in her apartment (where she blows the city dust off her suffocating plant), the couple's ecstatic run through his father's wheat fields, the arrival of grinning Guinn Williams and the reapers, and their harvesting scenes. Murnau's direction of the horse-driven wagons is especially spectacular. The lighting is brilliant throughout.********* City Girl (2/16/30) F.W. Murnau ~ Charles Farrell, Mary Duncan, David Torrence, Richard Alexander

ducdebrabant True, it isn't "Sunrise" (what is?) and it isn't even the complete silent version as Murnau envisioned it, but it's still a beautifully expressive film from one of the great masters. What's more, it's the only film I've ever seen which pinpoints a pivotal moment in American history (it seems to be set before the Crash). One thing that precipitated the Great Depression was the squeeze on farmers, who had no profit margin at all, and whose only recourse was to plant more and more, unwittingly worsening their own situation. One of the conflicts is that Charles Farrell is sent to the city to sell the wheat crop at the most advantageous price (and this is a desperate necessity), and not only fails to do so but comes home with a (perhaps unsuitable) new wife. The family patriarch has planted the farm in wheat right up to the front door, and even reprimands his little girl for picking a stalk of it to play with. They are drowning in a product everybody needs but which barely supports them, and on which they are completely dependent. The contrast between an agricultural America far from idyllic and a motorized city whose drudgery for most is at least as bad is redeemed by the awakening of human feelings and re-ordered priorities. Nothing will save these people but love and family.