Sequence Analysis Of Faust: The Triumph Of Evil

Emery Coxe German 7, Fall ’08 Prof. Gerd Gemünden 11/17/08 Faust: The Triumph of Evil Based on the classic German literary tradition of Faust, a tale rooted in 16th century lore, F. W. Murnau’s Faust presents a contemporary rendition of the quintessential struggle between good and evil, as well as an exploration of the conflict between literature and cinema. Light and dark, old and young, textual and visual – these are the doubles Murnau emphasizes in his depiction of Faust to portray these polarities. As we watch Faust’s descent from scholar to scoundrel, these doubles appear and reappear, highlighting the clash between good and evil, text and film, and presenting Murnau’s commentary on the subject matter. One critical juncture in the film, in which the juxtaposition of these diametric opposites furthers tremendously the plot and message of the film, is the scene at the Duchess of Parma’s banquet, leading up to and concluding with the finalization of the pact between Faust and the devil. The scene begins with a tracking shot from the ceiling to the floor, in which the grandiosity of the banquet becomes readily apparent: rows of perfectly synchronized dancers, garbed in decadent and ostentatious white attire, and servants scurrying to the whims of their masters characterize the opening shots. This is followed by a full shot of the duchess and her coterie, in which the duchess and her groom are the central focus – she dressed in white, glowing like an angel; he, in black, laying blithely, entirely oblivious of what is to come. Then, after word is brought that strange guests have arrived to the banquet, the film cuts to a long shot depicting the majestic army of elephants and servants conjured up as an illusion by Mephisto. That Mephisto, a man of images and fantasies, and the film’s embodiment of cinema, can design such resplendent and realistic imagery testifies to the awesome ability of film to create lifelike scenery. The next few shots further this testament: each is a full shot depicting the backs of the banquet guests, gazing in awe at the magnificent mass of man and mammal before them. This sequence is followed by a shot of Mephisto proceeding up the stairs toward the duchess. Unlike the horde he created

in his illusion, adorned in white, Mephisto wears black – symbolic of his innate evil. Faust, whose regal, white attire deifies him and juxtaposes him with both Mephisto and the duchess’s groom, then follows. From here, the film cuts to a full shot, in which Mephisto summons a servant carrying an odd box, followed by a close-up of the box, in which Mephisto unleashes the magic of the box – an absurdly bright light which blinds all but Mephisto, Faust, and the duchess – followed by a close up of the duchess and Mephisto, in which he whispers gently in her ear, literally, the devil on her shoulders. Interestingly, the bright light used to blind the banquets guests could be interpreted as a warning against the ability of film to blind and deceive people. We then watch the duchess’s desire for Faust boil over – the close up of her face betrays every subtle emotion. She leaps into his arms and the scurry off together. Next, the film cuts to a close up of the timer – the sand is running low, indicating that the pact will soon end. A full shot in which Mephisto stands alone as the banquet guests re-open their eyes follows. The groom, upon noticing the absence of the duchess, attacks Mephisto, stabbing his heart; however, testifying once more to film’s power of deception, a second Mephisto appears and slays the groom, causing chaos and panic in the court. As the guests run amok, the film fades to a full shot of Mephisto alone, surrounded by blackness, with only the candle fire visible behind him – linking him once more to pure evil. The film then cuts to a bedroom setting, in which a close-up of Mephisto lighting a chandelier and then swinging it like a pendulum references back to the ticking clock that governs the pact between Faust and Mephisto. A long shot depicting Faust carrying the duchess to bed follows; soon, they will consummate. As Faust goes to pull the curtains for privacy, Mephisto grabs his arm, revealing the clock – the time has run out. Here, the whiteness of Faust and blackness of Mephisto stand in full contrast: evil has good by the arm, and endeavors to corrupt it. Faust falls to his knees, and the mirage of the old Faust approaches the young Faust. Yet, when Faust asks for youth eternally, extending the pact, Mephisto and Faust clasp hands, Faust jumps to his feet, and the specter of the old Faust vanishes instantly. With one simple request, we see the triumph of the young over the old, the visual over the textual, the evil over the good. As Faust runs back to bed, the scene cuts to its final shot. Mephisto, atop the bed in which the duchess and Faust lay, stares mischievously. He then clasps the two black curtains and pulls them shut,

chuckling maniacally. Inside the bed, the duchess and Faust consummate. Atop the bed, Faust consummates the two sides of the curtains. And symbolically, the pact between Mephisto and Faust consummates. Evil has triumphed.