Directed by:
Friedrich Wilhelm MurnauScreenplay:
Henrik GaleenVOD (1)
Plots(1)
In this first-ever screen adaptation of Bram Stoker’s Dracula, a simple real-estate transaction leads an intrepid businessman deep into the superstitious heart of Transylvania. There he encounters the otherworldly Count Orlok — portrayed by the legendary Max Schreck, in a performance the very backstory of which has spawned its own mythology — who soon after embarks upon a cross-continental voyage to take up residence in a distant new land… and establish his ambiguous dominion. As to whether the count’s campaign against the plague-wracked populace erupts from satanic decree, erotic compulsion, or the simple impulse of survival — that remains, perhaps, the greatest mystery of all in this film that’s like a blackout… (official distributor synopsis)
(more)Reviews (7)
Nosferatu does not inspire fear, but after almost ninety years, it does command a great deal of respect. It's like when a modern car enthusiast visits a museum and admires an ancient car from the early 1920s. It may be boxy, have poor performance, and lack comfort, but it exudes the romanticism of the early days of automobile manufacturing. Similarly, in Friedrich Wilhelm Murnau's film, we get to see the pioneering era of filmmaking, when things were done with great enthusiasm and inventiveness. When watching the film in the movie theater, I was surprised by how much Murnau copied Stoker's famous novel. It's no wonder that the widow of the famous writer sued the filmmaker and the film ended up in a dusty archive thanks to her. The accompanying music also surprised me, as it was strongly dissonant and truly unsettling. I was honestly expecting something more classical. Overall impression: 80%.
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A love of black-and-white images that whisper their bizarre messages and prophecy into the quiet. The twisted world of the maniac Caligari and the creeping threat of the vampire Nosferatu. Undoubtedly the most suggestive treatment of the Dracula myth – precisely because evil cannot speak, precisely because it has only two colors. Nosferatu aka Orlock aka the mysterious Max Schreck is not only a cinematic creature, he is the perfect embodiment of evil and destruction, death, a hunch of the future destruction of the German nation. This film doesn't have weak moments. It doesn't scare intensely, but it's one long case of filmmaking enjoyment that doesn't need expensive effects to captivate the viewer with its emotionality and atmosphere. This is film in its raw form. This, ladies and gentlemen, is a film.
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The film indeed exudes ideas, but unfortunately Nosferatu is evidence that some movies will only remain for future generations as a depiction of "how things were done back then". I can't take Friedrich Wilhelm Murnau's creation seriously in any way and I can't imagine myself ever watching it again, even though I fully appreciate its role in history.
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First of all, I have to say that seeing Nosferatu the Vampire at the Scala in Brno with the absolutely amazing musical accompaniment of Ensemble Marijan was a great experience, and I envy the people of Brno that the student project kinẽma musica was created there and that it is thriving. As far as the film is concerned, sure, it's a rather entertaining film from today's perspective, especially when it comes to the acting of Gustav Von Wangenheim, for example, but it does have moments where all the fun goes by the wayside. For example, Orlok's murder of the ship's crew is an exemplary horror, and the ending with the shadow groping for the door and then for the heart of the beautiful Ellen.
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An expressionist gem, the atmosphere of which could be sliced up in the distorted backdrops, and which even today can be forgiven for the brevity of the narrative and for lacking an impressive finale like Caligari.
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If I compare Nosferatu and its genre and artistic similarity to The Cabinet of Dr. Caligari, I like the former a bit better, which together with The Cabinet represents the top works of German Expressionism in film. I'm not that familiar with Bram Stoker's book, so I wouldn't have registered any substantive difference from the source material, which was said to be the result of copyright issues. After watching the film, there were definitely a few memorable scenes that stuck in my mind, like Count Orlok rising from the grave like a plank, or his shadow on the stairs.
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The horror is not induced by scare scenes but by a superbly built atmosphere and, above all, unique shots and scenes. Absolutely unforgettable are essentially all scenes featuring Orlok, whether as a coachman, a landlord, or as a vampire. The shadows cast by Orlok are among the most haunting in horror film history.
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