_The Last Laugh_ is a film that stands out for its innovative use of cinematic techniques and its ability to convey deep emotions without relying on intertitles, except for two instances for the prologue and the epilogue. This is in contrast to _Nosferatu_, where a multitude of intertitles were used.

[spoiler]From the beginning, Murnau showcases his technical prowess. For example, through shots of the dismissal letter and skillfully executed editing, he captures the character's anguish. Initially, another image is superimposed over the shot of the letter, showing how the character imagines his new job. Then, the camera revisits the letter, but this time blurred, as if seen through tear-filled eyes. This sensation is further intensified in the sequence where the hotel seems to collapse on him.

Next, we are shown one of the most impactful scenes: the doorman's dream. Everything in this scene is intentionally artificial, reinforcing the sense of unreality and despair. The dream appears distorted, and the people seem to be the same person, further accentuating the unreality. Moreover, Murnau doubles the camera image to emphasize the protagonist's lack of sleep when he wakes up, making us experience his exhaustion and desperation. Additionally, he masterfully uses shadows to intensify the film's atmosphere, as well as mosaic overlays to depict the doorman's panic, a technique that adds an extra layer of visual and emotional complexity.[/spoiler]

It is also noteworthy that the film is pioneering in its use of camera movements, particularly with the first dolly. According to Edgar G. Ulmer, who worked on the production, this innovation arose from the desire to focus on Jannings' face as he moved through the hotel. Using a baby carriage mounted on an improvised rail, they managed to capture a dynamic and immersive shot, bringing unprecedented dynamism to the cinema of the time. Additionally, Alfred Hitchcock, who was working in Germany at the time, mentioned that Murnau had all the signs and posters made in a version of Esperanto, adding a layer of universality and timelessness to the urban setting. It is also possible that Fritz Lang was inspired by this work for his iconic _Metropolis_, especially in how Murnau uses visual effects and architecture to tell an emotionally resonant story.

[spoiler]Finally, the director and screenwriter Carl Mayer originally wanted the film to end with the doorman's death, a tragic conclusion that underscored the harshness of life. However, pressured by UFA executives to maximize the film's economic potential, Murnau and Mayer added a cynical epilogue. In this, the doorman becomes the heir to an eccentric hotel guest, a conclusion that sharply contrasts with the tone of the rest of the film. This epilogue is a scathing critique of commercial interference in art.[/spoiler]