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"Fiction. Drame. Film de style Kammerspiel racontant l'histoire d'un portier de palace berlinois qui, parce qu'il est trop vieux, est dépouillé de son uniforme rutilant et devient gardien de lavabos. Humilié, il pense au suicide dans le pauvre logement où il vit avec sa fille et son fiancé. Mais, pour une fin heureuse, il devient un client millionnaire du palace. Avec Emil Jannings, Maly Delshaft, Max Hiller, Emilie Kurz, Hans Unterkirchen, Georg John, Olaf Storm, Emmy Wyda, Hermann Vallentin."
"A hotel doorman, who takes great pride in his job, is demoted to washroom attendant because of his age. Unable to cope with his humiliation and loss, he stoops to new lows and fears. The doorman considers suicide. Then, by a strange twist of fate, he inherits a fortune. Story is told entirely by camera, without intertitle cards."
"Film de style Kammerspiel racontant l'histoire d'un portier de palace berlinois qui, parce qu'il est trop vieux, est dépouillé de son uniforme rutilant et devient gardien de lavabos. Humilié, il pense au suicide dans le pauvre logement où il vit avec sa fille et son fiancé. Mais, pour une fin heureuse, il devient un client millionnaire du palace."
"Der alte Portier des Hotels Atlantic verdankt seiner prächtigen Uniform Selbstwertgefühl und Anerkennung. Doch eines Tages beobachtet der Geschäftsführer, wie schwer dem alten Mann das Hantieren mit den Koffern fällt. Er verbannt ihn daraufhin in den Keller, degradiert ihn zum Toilettenmann. Zu Hause wagt der Portier nicht, den Abstieg einzugestehen. Doch als er bei der Hochzeit seiner Tochter die alte Uniform trägt, fliegt der Schwindel auf. Murnaus Film ist ein Meilenstein der Filmgeschichte. Erstmals verzichtet Murnau bei einem Stummfilm auf Zwischentitel und benutzt gemeinsam mit Karl Freund eine "entfesselte Kamera". Emil Jannings erhielt für seine Rolle des Portiers den ersten Oscar® der Filmgeschichte. (Quelle: Umschlag)."
"Un vieux portier d'hôtel est très fier de sa position et surtout de son bel uniforme. Or le jour même où il marie sa fille, le directeur lui retire son emploi et le relègue à la surveillance des lavabos. Le bonhomme est effondré et, le soir, il vole son vieil uniforme pour assister aux noces. Mais le lendemain il doit reprendre ce travail qu'il considère comme une déchéance. Heureusement, un millionnaire excentrique, mort dans ses bras, lui lègue une fortune."
"A pompous, aging hotel doorman, who is rejected by his family and friends when he is dismissed from his job, experiences a sudden change in fortune. Scene: Berlin in the 1920's. A classic silent film from director F.W. Murnau."
"A hotel doorman finds a twist of good fate after being demoted to a washroom attendant."@en
"The story of a hotel doorman who is demoted to washroom attendant because of his age. Humiliated, he considers suicide. Then he experiences a strange twist of fate. This silent film is told entirely by camera, without title cards."
"Berlino, fine secolo. Il vecchio portinaio del lussuoso hotel Adlon, che esercita con grande impegno la sua professione come 'primo uomo', vede togliersi i gradi di portiere. Con ciò gli crolla il mondo intero. Perché con la divisa e per la posizione era una personalità rispettata. Degradato a guardiano del bagno, ruba la sua divisa durante la notte per salvare le apparenze. Al matrimonio di sua nipote però la verità viene alla luce."
"The story of a hotel doorman who is demoted to washroom attendant because of his age. Humiliated, rejected by family and friends, he considers suicide. Then, by a strange twist of fate, he becomes a millionaire. This silent film is told entirely by camera, without title cards."@en
"Summary: A hotel doorman, who takes great pride in his job, is demoted to washroom attendant because of his age. Unable to cope with his humilation and loss, he stoops to new lows and fears. The doorman considers suicide. Then, by a strange twist of fate, he inherits a fortune."
"The chief doorman of a large hotel, deemed to be too old for the job, is demoted to lavatory attendant. The ironic parody of the happy ending by its very fatuousness throws into relief the horror of relentless and inhuman forces at work in the world of the bourgeois, forces which are incomprehensible to the doorman. This petty tragedy uses the slow rhythms of the Kammerspiel film, with its nameless archetypes, insistent camera movement and atmosphere in a simple plot with a minimum of intertitles so that undivided attention can be focussed on emotion floating palpably around the characters. Objects are used as symbols or carriers of emotional meaning. The tracking camera becomes a participant, frequently expressing a subjective point of view. There are traces of Expressionism in the lighting and the dream sequence. Janning's weighty immobility and exaggeration of of expression and gesture is heavy with pathos."