Tabù
probably would never have been made if it hadn't been for
the reconciliation of Flaherty and Thalberg, of Paramount. The director was
commissioned to write a subject set in the south seas (like Moana). Flaherty developed an idea for a film
on natives and their conflicts born out of superstitions and ancient laws.Afraid that Flaherty
would have favored the documentary approach at the expense of a more emotional
take, Paramount asked Flaherty to find himself a co-director. He chose Murnau,
who had just come to the U.S. after fleeing Nazi Germany. Murnau's presence
provided just the emotional kick Paramount was looking for. Flaherty's
neutrality, which was concerned with the environment and the reactions of his characters,
clashed with Murnau's vision of cinema. Flaherty ended up leaving Bora-Bora
because of insurmountable differences, and Murnau went on to finish the film
alone. The story becomes a "sentimental intrigue," as Murnau himself
put it - a young lust-filled couple in which the girl is deemed
"tabù," or untouchable, by an elder priest. After an initial flight,
the two find themselves involved in various escapades. But a cruel destiny
lurks, waiting to thwart the youngsters. In the end, the girl is forced to
return to the island, and her beau is killed by the priest. The story's structure
can undoubtedly be attributed to Flaherty - consider the places, the background
for the action, that are filmed; the interest in the islanders' tradition; the
force of pure, uncontaminated naturr. Murnau lends warmth. He concentrates on
the characters, their conflicts - inner and outer, and their hesitations.
Overall, Tabù is an interesting two-man operation. It is not always easy - nor
is it indispensable - to figure out who is the film's main author. In 1949 to
Georges Sadoul Fdlaherty said tath the film was surely a Murnau's one.
