camera-thinking with a definite narrative end. Lotte Eisner praised its "opalescent surfaces streaming with reflections, rain, or light: car windows, the glazed leaves of the revolving door reflecting the silhouette of the doorman dressed in a gleaming black waterproof, the dark mass of houses with lighted windows, wet pavements and shimmering puddles... His camera captures the filtered half-light falling from the street lamps... it seizes railings through basement windows." The film's story and content were also praised by critics, with Eisner stating that it "is pre-eminently a German tragedy, and can only be understood in a country where uniform is king, not to say god. A non-German mind will have difficulty in comprehending all its tragic implications." Siegfried Kracauer pointed out that "all the tenants, in particular the female ones... [revere the uniform] as a symbol of supreme authority and are happy to be allowed to revere it." In 2000, Roger Ebert included it among his list of Great Movies. Home media Kino International released a reconstruction of the German version and an "unrestored export version" in 2008 (the latter apparently the version used by Kino in previous releases). A bonus 40-minute documentary compares the German, American and international versions. See also German film history F. W. Murnau List of German films of 1919–32 Kammerspielfilm Unchained camera technique List of films with a 100% rating on Rotten Tomatoes, a film review aggregator website References External links Literature on The Last Laugh Der letzte Mann on Rotten Tomatoes 1924 films 1924 drama films German drama films Films of the Weimar Republic German silent feature films Films directed by F. W. Murnau Films with screenplays by Carl Mayer Films set in Berlin Films set in hotels German black-and-white films German Expressionist films Films produced by Erich Pommer UFA GmbH films 1925 drama films 1925 films Silent drama films 1920s German films