Statements (75)
| Predicate | Object |
|---|---|
| gptkbp:instance_of |
gptkb:film
|
| gptkbp:bfsLayer |
4
|
| gptkbp:bfsParent |
gptkb:F._W._Murnau
gptkb:Karl_Freund gptkb:Gottfried_Huppertz |
| gptkbp:awards |
gptkb:None
Best Film at the 1925 Venice Film Festival |
| gptkbp:based_on |
The Last Laugh (1924) (remake)
|
| gptkbp:cast |
gptkb:Maximilian_Schell
gptkb:Hildegarde_Knef gptkb:Rudolf_Klein-Rogge gptkb:Emil_Jannings Maly Delschaft |
| gptkbp:character |
The love interest
The doorman The wealthy man |
| gptkbp:cinematography |
gptkb:Karl_Freund
|
| gptkbp:color |
gptkb:Black_and_White
|
| gptkbp:country |
gptkb:government_agency
|
| gptkbp:critical_reception |
acclaimed by critics
|
| gptkbp:cultural_impact |
influenced filmmakers
Influenced later films on identity and status. |
| gptkbp:cultural_significance |
examines class differences
depicts urban life in Berlin explores personal dignity influences modern cinema reflects Weimar Republic society |
| gptkbp:director |
gptkb:Fritz_Lang
|
| gptkbp:distributor |
gptkb:UFA
|
| gptkbp:famous_for |
Innovative use of camera techniques
|
| gptkbp:filmography |
gptkb:Paul_Falkenberg
visual storytelling symbolic imagery use of deep focus expressionist set design innovative camera movements |
| gptkbp:genre |
gptkb:High_School
|
| https://www.w3.org/2000/01/rdf-schema#label |
The Last Laugh (1924)
|
| gptkbp:influenced |
Filmmakers like Martin Scorsese.
The Last Laugh (1924) (remake) Filmmakers like Alfred Hitchcock. Filmmakers like Orson Welles. |
| gptkbp:influenced_by |
gptkb:German_Expressionism
|
| gptkbp:inspiration |
inspired later films
The Last Laugh (1924) (remake) |
| gptkbp:language |
gptkb:Actor
gptkb:Native_American_tribe |
| gptkbp:legacy |
considered a classic of silent cinema
|
| gptkbp:main_character |
the doorman
|
| gptkbp:music |
gptkb:Eugen_d'_Albert
gptkb:Gottfried_Huppertz |
| gptkbp:notable_appearance |
the final scene
the party scene the doorman's transformation |
| gptkbp:plot |
a doorman's fall from grace
A doorman loses his job and struggles with his identity. |
| gptkbp:premiere |
gptkb:Berlin
|
| gptkbp:production_company |
gptkb:UFA
|
| gptkbp:release_date |
1924-11-01
|
| gptkbp:release_year |
1924
|
| gptkbp:remake |
gptkb:The_Last_Laugh_(1951)
The Last Laugh (1924) (remake) |
| gptkbp:restoration |
restored by the Friedrich Wilhelm Murnau Foundation
|
| gptkbp:runtime |
90 minutes
|
| gptkbp:screenplay_by |
gptkb:Hans_Wilhelm
gptkb:Carl_Mayer |
| gptkbp:starring |
gptkb:Emil_Jannings
|
| gptkbp:technique |
Use of deep focus
uninterrupted long takes Expressionist set design. Symbolic use of the doorman's uniform. |
| gptkbp:themes |
gptkb:TV_series
redemption social status humiliation |