I love the long tracking shot of the Man (George O'Brien) walking through the woods as he looks for The Woman From the City. It tracks him all the way through the woods and the scene has this whole air of mystery in it, and then it finally ends with him finding her by the lake with the moon shining in the sky behind her. The entire thing was gorgeous.
And I know its a cliche to say it, but they really don't make em' like they used to.
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But I believe it's an earlier shot when the camera becomes the man's point-of-view - a subjective tracking shot and then as the man enters the shot through the right frame, it becomes a typical (in terms of years later) objective tracking shot following his course through the marsh. I'll never forget hearing Karl Struss talk about filming "Sunrise" in 1927 at a LACMA 50th anniversary screening in 1977. He described using models of the sets in order to plan and rehearse the sweeping tracking shots with the camera suspended above. The big city set was definitely one of the models he referred to. What an evening!
share"And I know its a cliche to say it, but they really don't make em' like they used to."
Well, but they never really did make 'em like that--unless they were Murnau.
"The night was sultry."