Faust

In 1957 Gustaf Gründgens staged a new production of Goethe's Faust in which he once again played Mephisto, a part he had played since 1932. The brilliant production was a huge success and ran for a couple of years. In 1959 Peter Gorski captured the performance on film in his directorial film debut. Basically it is a registration of the production, but Gorksi did manage to accentuate the details of the acting by using enough medium and close-up shots which give a view on the acting you normally would not able to see in a theater.

A doctor in early 19th-century Germany becomes infatuated with the sister of a man he unintentionally killed and bargains with the Devil incarnate to conjure their union in exchange for his soul.

Dr Faust is continually obsessed with his quest for knowledge and absolute pleasure. One day, the demon Mephistopheles appears to him in his study in human guise and offers him a deal: a lifetime of total pleasure in exchange for the life of his fiancée Margaret. Faust accepts but is soon forced to realise the impossibility of crossing the boundaries of knowledge and the limits imposed by God.

John Jaspers, a tormented vigilante who sells his soul in exchange for superpowers and must then rise against Mephistopheles to rescue his lover Dr. Jade DeCamp and win back his soul.

David McVicar's spectacular production of Charles Gounod’s Faust, featuring a divine cast of opera’s superstars: Roberto Alagna, Angela Gheorghiu, Bryn Terfel, Simon Keenlyside and Sophie Koch – recorded at the Royal Opera House, Covent Garden on 19 June 2004.

In an epic tale of good versus evil, Faust sells his soul to the Devil and tries to save Marguerite from an eternity in Hell.

Faust, an aged philosopher and magician who has grown weary of life and has sought in vain for the secret of eternal youth, decides, after a night's long vigil, to call forth from the realms of darkness the evil one to aid him. Mephistopheles appears and offers him his services in return for Faust's soul. The aged philosopher refuses to accept until the devil shows him a vision of Marguerite in all her maiden simplicity and beauty. Faust agrees to accept the compact providing Mephistopheles will give him youth, wealth and love.

Reflecting the plot of Charles Gounod's opera, Faust, an old man, sits unhappy in his study. Méphistophélès materializes and offers a devil's bargain - youth and vigor in exchange for Faust's soul. Faust accepts and instantly transforms into a young man. The two go out on the town, and Faust lays eyes on Marguerite, a virgin whose brother Valentin is her protector. Valentin goes to war, leaving Marguerite in the care of his friend Siébel and under the watchful eye of his neighbor, Marthe. Faust courts Marguerite while Méphistophélès chats with Marthe. Seduction, loss of reputation, pregnancy, and tragedy follow.

FAUST questions a world wherein violence, abuse and exploitation can so readily occur. The film takes the rules and aesthetic devices of Mondo cinema and applies them to the documentary. Interviews with child rape survivors play over recorded and found footage of violence, confusion and decay across 3 countries.

"Drawing from Goethe's classic text, Punchdrunk transformed the legend of Faust into a sensory, choreographed drama...this DVD has been produced to reference some of the magic of the live performance, the fragments of which exist only in the memories of those who saw, and helped make into, 'the hottest ticket in town.'"

Film poem in negative by Pier Farri. The second part of his trilogy 'Night scenes of artists and poets'.

Alice Guy directed a now lost phonoscene (film that relied on a chronophone sound recording that the actors in the film lip-synced with) version of Faust in 22 scenes(or short films) totaling 1245 meter of film. What remains are mostly postcards containing images of some of the scenes. The earliest proof of this film dates from 1905, as it was shown in a Phono Chronomegaphone Theatre in Belgium(stating it had 5 acts and 8 tableaux). The captions of the postcards refer to lines taken from the opera libretto by Jules Barbier and Michel Carré for the 1859 Opera by Charles Gounod(which again was loosely based on Goethe's play) which the film was based on.