Born Friedrich Wilhelm Plumpe, Murnau's most famous film is Nosferatu, a 1922 adaptation of Bram Stoker's Dracula that caused Stoker's estate to sue for copyright infringement. The vampire, played by German stage actor Max Schreck, resembled a rat which was known to carry the plague. The origins of the word are from Bram Stoker's novel where it is used by the Romanian townsfolk to refer to Dracula and presumably, other undead.
Nearly as important as Nosferatu in Murnau's filmography was The Last Laugh ("Der Letzte Mann", German "The Last Man") (1925), written by Carl Mayer and starring Emil Jannings. The film introduced the subjective point of view camera, where the camera "sees" from the eyes of a character and uses visual style to convey a character's psychological state. It also anticipated the cinéma vérité movement in its subject matter.
Murnau's last German film was the big budget Faust (1926) with Gösta Ekman as the title character, Emil Jannings as Mephisto and Camilla Horn as Gretchen. Murnau's film draws on older traditions of the legendary tale of Faust as well as on Goethe's classic version. This carefully composed and innovative feature contains many memorable images and startling special effects, with careful attention paid to contrasts of light and dark. Particularly striking is the sequence in which the giant, horned and black winged figure of Mephisto hovers over a town sowing the seeds of plague. The acting by Ekman and the sinister, scowling, demonic Jannings is first rate and the virtually unknown actress Camilla Horn gives a memorable performance as the tragic figure of Gretchen.
Murnau emigrated to Hollywood in 1926, where he joined the Fox Studio and made Sunrise (1927), a movie often cited by film scholars as one of the greatest films of all time. Filmed in the Fox Movietone sound-
Murnau's next two pictures, Four Devils (1928) and City Girl (1930), were modified to adapt to the new era of sound film and were not well received. No copy of Four Devils now exists. Their poor receptions disillusioned Murnau, and he quit Fox to journey for a while in the South Pacific.
Together with documentary pioneer Robert Flaherty, Murnau travelled abroad to Bora Bora to realize the film Tabu in 1931. But Flaherty left after artistic disputes with Murnau who had to finish the movie on his own. Because of images of bare-