For many moviegoers in 1977, it was the most anticipated movie of the summer. Coming as it did from an up-and-coming and internationally renowned wunderkind director whose penchant for verisimilitude marked a radical break with typical Hollywood studio filmmaking, it was undoubtedly destined for greatness. Loaded with action and exceptional special effects, a cast of relative unknowns, and based on the director’s previous hit, the response was expected to be phenomenal. It was not Star Wars, and when it was released only a week after Lucas’ little science-fiction space adventure, William Friedkin’s critically maligned Sorcerer, a remake of Henri Clouzot’s classic French film The Wages of Fear (1955), was out of the zeitgeist faster than the prints were out of the theatres.
By way of introduction to F.W. Murnau’s masterpiece Sunrise, one can’t do much better than Rachael K Bosley’s remarks in the June 2003 American Cinematographer about the then recent DVD release of the film (which was, of all things, an odd mail-in promotion from 20th Century Fox):
At heart a simple melodrama about a philandering husband (George O’Brien) who rediscovers his love for his wife (Janet Gaynor), Sunrise is a film whose visual complexity was unmatched upon its release in 1927. It was the first American film made by German Expressionist director F.W. Murnau, and at the first Academy Awards ceremony in 1929, Sunrise earned the only such award ever bestowed for ”Most Unique and Artistic Production.” It also earned the first Academy Award for cinematography, an honor shared by Charles Rosher, ASC and Karl Struss (whom Rosher successfully nominated for ASC membership following Sunrise‘s release). Cinematographers of all ages continue to cite the film as a favorite. (16)