This page is to obtain ONLINE access to the Sands Films Cinema Club presentation of TARTUFFE on Tuesday 13th September
To attend in person, please CLICK HERE
Following our very loose thread of “Film and Theatre” here is another classic plays adaptation by major film director: F. W. Murnau.... but this time it is a silent film.
This film is 70 minutes
Molière performed his first version of Tartuffe in 1664.... 260 years later, in 1924, F.W. Murnau filmed a silent adaptation... The impersonal result of a contractual obligation, Herr Tartüff is nevertheless one of F. W. Murnau’s most beautiful films. Like Dreyer’s The Parson’s Widow, Master of the House and Ordet, it’s a comedy from someone from whom we don’t expect a comedy.
Molière’s sixteenth-century play exists here as a film-within-the-film; the narrative frame encasing it is modern-day—the addition that scenarist Carl Mayer contributed. Molière’s play attacks various forms of hypocrisy, including religious hypocrisy. In the frame, a rich old man’s disinherited grandson, disguised, shows his grandfather a film of the play in order to expose the housekeeper, to whom the grandfather now plans to leave his fortune, as a greedy manipulator who only pretends to care about her employer. It is she who has convinced the old man that his grandson, an actor, is not to be trusted.
This page is to obtain ONLINE access to the Sands Films Cinema Club presentation of TARTUFFE on Tuesday 13th September
To attend in person, please CLICK HERE
Following our very loose thread of “Film and Theatre” here is another classic plays adaptation by major film director: F. W. Murnau.... but this time it is a silent film.
This film is 70 minutes
Molière performed his first version of Tartuffe in 1664.... 260 years later, in 1924, F.W. Murnau filmed a silent adaptation... The impersonal result of a contractual obligation, Herr Tartüff is nevertheless one of F. W. Murnau’s most beautiful films. Like Dreyer’s The Parson’s Widow, Master of the House and Ordet, it’s a comedy from someone from whom we don’t expect a comedy.
Molière’s sixteenth-century play exists here as a film-within-the-film; the narrative frame encasing it is modern-day—the addition that scenarist Carl Mayer contributed. Molière’s play attacks various forms of hypocrisy, including religious hypocrisy. In the frame, a rich old man’s disinherited grandson, disguised, shows his grandfather a film of the play in order to expose the housekeeper, to whom the grandfather now plans to leave his fortune, as a greedy manipulator who only pretends to care about her employer. It is she who has convinced the old man that his grandson, an actor, is not to be trusted.