From its breathtaking cinematography, one of the most memorable staples of an era of innovative camera discoveries (see also the work of Sergei Eisenstein and Abel Gance), to its simple but beautiful story of love, pain, loss and endurance, Sunrise is as classic a movie as you can possibly get. No, I don't think it's perfect (there are some sequences that seem a tad out-of-place), but it's tremendously enjoyable and required viewing for all cinephiles. I'm still hitting myself over the head for waiting so long to see it. It's a marvellous tale of love that refined a genre, saw a filmmaker at the height of his power and skill, and told a story that has stood the test of time. Beautiful.

Sunrise is not only a beautifully written ''song" about love, betrayal and redemption, it's also one of the most transcendent and influential films ever made. Janet Gaynor and George O'Brian bring two of the most emotionally raw and incredibly human performances ever on screen, without ever speaking a single word. F.W Murnau (Nosferatu) along with the cinematographers Karl Struss and Charles Rosher manage to make the camera move in such a sweeping, dream-like way it's hard to believe this film came almost 90 years ago.

I was lucky enough to see this on 35mm and I was truly amazed at how gorgeous this film is. The night shots in the beginning were my favorite but the bustling, kinetic city scenes were just as masterful. My only complaint is the saint/whore dynamic going on here. Can't wait to watch more Murnau in the future.

Features a drunk pig

film class.

Beautifully photographed and acted. Great special effects, refreshingly used for something other than spectacle. Dark, funny, sweet, passionate. The film and the performances shift in tone so drastically that it's a miracle the film even works at all, let alone working perfectly with Murnau's virtuosic touch. Only movie I've ever seen where a pig gets drunk.

super dumb

Sunrise is not only a beautifully written ''song" about love, betrayal and redemption, it's also one of the most transcendent and influential films ever made. Janet Gaynor and George O'Brian bring two of the most emotionally raw and incredibly human performances ever on screen, without ever speaking a single word. F.W Murnau (Nosferatu) along with the cinematographers Karl Struss and Charles Rosher manage to make the camera move in such a sweeping, dream-like way it's hard to believe this film came almost 90 years ago.

It meanders a bit in the middle section, right after the incredible church wedding scene. But everything else is a revelation – so far ahead of any silent film I’ve seen – and perhaps most incredibly, it remains as fresh and innovative as it must have been in 1927.

Pleasantly surprised by the innovative cinematography for the time and the less theatrical style of acting than one would normally associate with silent film. Loved the typical German expressionist nuances throughout. The tone set early on in the movie had me glued to my screen. Sadly though, about a third of the way in, the movie surprisingly took a sharp nosedive as I got slapped in the face with an abrupt transition from dark thriller to farcical comedy. It just felt so unbelieveably out of place. Although this might just be due to the flavour of the time, of course. Still, I didn't like it one bit. All in all a good movie, certainly when placed in its historic timeframe.

This really is something of a masterpiece. It's simply lovely, and incredibly moving and emotional. Granted, I'm not particularly well-versed in silent cinema, but this would be my #1 recommendation for someone looking for a good silent movie.

A stunning masterpiece. Murnau transcends mediums to create a universal work of art. Gorgeous visuals, breathtaking camerawork, and magnificent performances from George O'Brien and especially Janet Gaynor. 5/5 - A+