_City Girl_ is a film that, although clearly designed to appeal to a broad audience, still showcases the technical talent of F.W. Murnau. The film is well-shot and executed, with attention to visual detail that highlights the director’s skill in scene composition and actor direction. The script, though simple and unpretentious, remains moving in its portrayal of the conflicts between rural and urban life, allowing the story to connect emotionally with the viewer.

However, when _City Girl_ is placed in the context of Murnau’s filmography, it’s hard not to notice that the film doesn’t reach the heights of his previous works. Films like _Sunrise_ (1927) completely overshadow this one, sadly relegating it to the corner of oblivion. _Sunrise_ is a masterpiece that shines with its visual innovation, thematic depth, and perfect blend of lyrical and narrative elements—qualities that barely make an appearance in _City Girl._

Furthermore, one of the most distinctive elements of Murnau’s style, his use of German Expressionism, is almost absent in "City Girl." While in his earlier films, like _Nosferatu_ or _The Last Laugh,_ this visual style was essential for creating atmospheres rich with symbolism and emotion, in _City Girl,_ there is barely a trace of this approach. Instead, the film opts for a more conventional realism, which, although not negative in itself, results in a work lacking the distinctive signature that made Murnau one of the great directors in the history of cinema.