F.W. Murnau and Tim Burton: German Expressionism reflected in American cinema

German Expressionism became popularized between 1919-1923. It was all about a state of mind; a more abstract mind. The sets were deliberately flat creating an unsteadiness about the whole appearance. To add to that, horizontal and vertical lines were thrown away for more diagonals creating an uneasy and anxious feeling. This also took place during the silent period, so the makeup was heavy (in keeping with live theatre at that time, including overacting). The acting was very machine like, which also helped to dehumanize the people and make them more into their characters. A total immersion into the expression almost.

One of the most prominent German expressionist directors was F.W. Murnau. In just one scene in "Nosferatu" (1922) you can see how the Dracula creeping towards the screen, with flat painted black and white boards slanted towards him, create a walkway that would make it seem like he could keep walking right through the screen, his dark eyes staring you down the whole time. Unlike film noir, where the blinds would only be across a person or the screen when that person or scene was sure to be jaded or in trouble, the lines used in expressionistic films, such as "Nosferatu" are heavy, thick, and daunting. There is nothing but uneasiness the entire time. The point is made clearly and eerily.

Murnau also directed a beautiful film, "Sunrise" (1927). A black and white silent picture, completely the opposite from "Nosferatu" in it's story. As it may seem in the beginning, The Man is not going to be who the audience hoped he would be: a good and decent man. He galavants all around the city with his Woman (not his Wife) and makes a plan to drown his Wife. After taking her out, looking into her eyes, and realizing the error of his ways, he completely changes his tune and wants to be who he should be: The Man that The Wife married. (I won't give away the entire movie plot, but the general idea is there. Such an incredible that must be seen be everyone reading this.)


Tim Burton clearly reflects that expressionistic view in most of his films. Almost all of the films he's directed are, in a way, dark and twisted. In "Beetlejuice" (1988), black and white was made a central theme throughout the movie, including Beetlejuice's suit. The uneasiness that the lack of straight lines made was also apparent. Beetlejuice's appearance, especially his face (eyes specifically) were so dark and gloomy, and although heavily make-uped, it still goes right back to how Dracula's eyes looked in "Nosferatu." Would you want to stare dark circles in the eyes? Scary, but great imagery, and definitely a character the audience won't forget.

"Big Fish" (2003), also directed by Tim Burton, is a film easily unforgettable after watching it through the first time. The bright colors and big, outdoor sets create a work of art, without even anything else thrown into the mix. The story follows how a son is still trying to sort through his father's tales of his much fulfilled life, to decide what's true or not, in order to figure out what was really real about his own life. In the end, he comes to find that the tales his father was telling weren't really tales, but a retelling of what had actually happened. The son is comforted to figure this out on his own.

F.W. Murnau and Tim Burton are probably two of the easiest comparable directors because of their clear and distinct ways of using simple things (lines, direction, colors) to tell a very clear and distinct story, and one that the audience will definitely not forget. Their characters attach themselves to every audience member by grabbing their attention by their physical features and not letting you forget who they were. And when these two directors make a beautiful film, filled with romance and delicacy, it is clear why their films can stand the test of time.