Tabu: A Story of the South Seas

The brainchild of German genius F.W. Murnau and documentary innovator Robert J. Flaherty (of Nanook of the North (1922) fame), Tabu uses the beautiful, untouched landscape of the South Pacific and employs non- professional natives to tell the beautiful story of love found and lost, and ultimately the death of paradise. Murnau died in an automobile accident shortly before the film's premiere and, thus, was his last gift to the movie-going world. Though it doesn't come close to the iconic expressionist horror of Nosferatu (1922) or the dark, satirical humour of The Last Laugh (1924), Murnau's epitaph is a simple, yet heart- wrenching cinematic poem.

The best spear-fisherman on Bora Bora is a handsome young man billed simply as The Boy (Matahi). His legendary status and unparalleled skill makes him popular amongst the islanders, and soon he has caught the eye of The Girl (Reri - who went on to star on Broadway as Anne Chevalier). They romance each other, but their affair is soon halted by the arrival of emissary The Old Warrior (Hitu), who proclaims Reri as the sacred maiden. She is 'tabu', and cannot be looked upon by any man unless he wishes the punishment of death. The couple brave storm and sea to escape, an arrive in a French-colonised island, where Matahi start work as a pearl diver. But their happiness is fleeting, and Reri is soon haunted by the image of Hitu, terrified she may have angered the gods.

The plot is hardly anything new, but Floyd Crosby's Oscar-winning cinematography makes Tabu more socially aware that the film may have you believe. The subtle yet crucial involvement of the French colonists, finding amusement at Matahi's lack of understanding regarding money and material wealth, is a clear swipe at the creeping of Western civilisation. Bora Bora won't stay pure for much longer. And that adds a gravitas to Matahi and Reri's plight - not only is their romance doomed, but so are their traditions and society. It is one of the last great silent films, a reminder that sound can be an unnecessary distraction, and that picture's can sometimes genuinely speak louder than words.

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The cinematography of this film puts most modern films to shame. You don't even notice it is a silent film because every scene is self-explanatory and needs little or no dialogue. The actors were great considering they were not professionals. The direction is superb. This is a must see film; silent or otherwise.

In one island of Bora Bora lagoon, a young fisherman, Matahi, is in love with Reri. But she is chosen to be the holy maid and therefore becomes "tabu". They ran away from that tradition. Will they be happier and luckier in the more "civilized" society?

Sadly, this was to be F. W. Murnau's last film. Despite a short life, he made many great films (including this one)... and then came a car accident that left us without another three or four decades of genius.

On the bright side, cinematographer Floyd Crosby won an Academy Award for Best Cinematography for his work on this film. Crosby went on to work for a great many years, bringing out the best in such directors as Roger Corman. In "Tabu", he uses the camera to tell a story without words -- body language and eye movement tell us almost everything we need to follow the plot.

The film was not a box office success upon release, grossing just $472,000 worldwide, which failed to recoup Murnau and Paramount's investment. This seems odd today, when it is considered a classic, but there is no secret that critically successful films and commercially successful films are not always the same thing.

The Image DVD features commentary by film historian Janet Bergstrom, which is quite excellent. Other editions feature other commentary, but I have not heard it and cannot compare.

A teenage island native, played by a young man named Matahi, and his love interest, Reri (Anne Chevalier), live happily in a South Seas paradise, surrounded by lush tropical vegetation, waterfalls, and majestic mountains. He's a pearl fisherman. She's an unattached young beauty. Their lives are simple and reasonably carefree. A spirit of innocence prevails. But even amid such beautiful simplicity and natural wonders, sinister elements lurk in the background. And that's the film's main theme.

The story is simple and direct. It's both a love story and a visual documentary that will appeal to Westerners accustomed to a more tech lifestyle. Parts of the narrative are conveyed by means of the writings in a ship captain's log. The writing is displayed on the screen, for viewers to read. The film's tone varies from light and cheerful at the beginning to more somber as the plot moves along.

Shot in Tahiti and Bora Bora, the film has a cast made up entirely of non-professionals. The B&W lighting is good, given the early era.

The film is one of the last of the silent period. And I'm therefore reluctant to find fault with it. The native Pacific music is really beautiful, what there is of it. I could have wished for a lot more. By contrast, the imported symphonic score is loud, nondescript, and intrusive. I guess that would be the one thing I would have changed.

Even for viewers who don't care for silent films, "Tabu: A Story Of The South Seas" might be appreciated for its documentary style visuals. For viewers familiar with silent cinema, this is a must-watch film, Director F.W. Murnau's last.

Tabu might best be described as ethnographic-fiction which combines Robert J. Flaherty's documentary style with F.W. Murnau visual sensibilities. The result is one of the last great silent era films. The naturalistic setting is perfectly matched by the realistic acting of the non-traditional cast, the local Polynesian people. As a tragic love story, the plot is deceptively simple, yet it is unexpectedly engaging. Murnau's expressionist background continues to be expressed through his artful use of light and shadow. His decision not to use inter-titles to explain dialogue was perhaps the most fitting to the story and the setting, leaving the majority of the plot development to the actions of the characters and the work of the camera (Klaus Ming November 2008).