The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

All that we are seeing on the screen is happening with real people, real action sequences in the background, forcing the eye to watch as if we were there.

While it doesn't offer any answers, it both thrills and makes you think.

Just intense enough to provide a much-needed diversion, just lightweight enough to make you forget about it soon after it’s over. It’s not exactly “good,” per se, but it does what it sets out to do in terms of putting us on edge, which makes it … successful?

That F.W. Murnau's long gone "Phantom" was "reconstructed and restored in 2003" from a print held in Berlin's Bundesarchiv-Filmarchiv is a cause for celebration - this, along with the more recent announcement of 75 "lost" films turning up in a New Zealand archive, suggests "lost" works will continue to trickle out of archives and attics for the foreseeable future. The reconstructed "Phantom" is very well done; it's obvious they were working from a very satisfying print of the film, as there is little of the deterioration you expect in these old films. They've avoided temptation to enhance the coloring, and tinted the nicely preserved original film in original hues, inserted new intertitles, and added an appropriate Robert Israel score.Our story begins in then "present" day Germany, with protagonist Alfred Abel (as Lorenz Lubota) and Lil Dagover (as Marie Starke) living in a "happily ever after" home (which dampens much of the coming tension). Wife Dagover lovingly urges Mr. Abel to write the story of his former life. The couple hopes this will help ease ex-convict Abel's painful memories. Then, we have the flashback… and, the problems begin… Some time ago, Abel is a respected, but lowly city clerk. He lives with haggish old mother Frida Richard, whorish sister Aud Egede Nissen (as Melanie), and dour brother Hans Heinrich von Twardowski (as Hugo).The introduction of the "little brother" points out another of the film's structural flaws. You expect, since we have a big, obvious "flashback" that the younger man is the younger "Lorenz" - but, this revealed not to be the case when Abel is called to the breakfast table, looking older than he did before the flashback. An unaccredited co-writer, Mr. Twardowski is not on screen much of the time; but, he seems capable, and it might have been a better idea to have him play the main role. Or, they could have dispensed with the opening and have Abel play "Lorenz" as a middle-aged, angst-ridden character. Which, he may be… As it turns out, Abel gets hit by a coach pulled by pretty white horses. Suffering little physical harm, he becomes infatuated with the inhabitant of the carriage, lovely Lya de Putti (as Veronika Harlan). An aspiring poet, Abel becomes involved in a money-lending scheme based on his verse becoming successfully published. Alas, Abel's poems turn out to be worthless, and he ends up in jail (as revealed in the opening sequence). Admittedly, there is some disappointment in "Phantom". This is my fifth Murnau film, and the first one I rate less than "9" on the IMDb scale. Still, it's an excellent piece, and worth the running time.******* Phantom (11/13/22) F.W. Murnau ~ Alfred Abel, Lil Dagover, Frida Richard, Hans Heinrich von Twardowski

Maybe my expectations were too high for this film, but after catching it on tape from TCM's Silent Sunday feature, I felt let down. I expected the same genius from Murnau as Nosferatu and Sunrise. All of the cinematic elements are there, but it just felt incomplete. The story revolves around a man obsessed with an unattainable woman, and his attempts to substitute for his unfulfilled desires. My biggest issue with the film was with Alfred Abel as Lorenz in the lead. He was great in Metropolis in a totally different role, but here he looked too old for the part and out of place, not quite finding the firm ground to build the character. Other players were good especially Aud Egede Nissen as Lorenz's sister Melanie. Worth a look for Murnau's style, but a let down overall.

A much underestimated movie. I've seen several of Murnau's flicks, and while I am the generally a big fan of his work, this one is actually one of my favorites. In a dreamlike manner it tells a story of main character's obsession with a manipulative and cruel woman. His love and desire makes him lose his senses - to a point where object of his passion becomes like a haunting spectre, a phantom. In some way Phantom is a forecast of another german picture, the famous Blaue Engel. Although the plot in one way or another has become a Hollywood cliche over the years, the movie is dark, strange and compelling. Murnau's depiction of insanity, especially in the final scenes is by itself a milestone of cinema.

The print that I rented is of very poor quality. Additonally, I did not realize that not only was there not a musical soundtrack, but subtitles were in German. You can spot the Murnau talent there but I don't call this essential viewing.