Cast:
Bill Skarsgård (Count Orlok / Nosferatu), Nicholas Hoult (Thomas Hutter), Lily-Rose Depp (Ellen Hutter), Aaron Taylor-Johnson (Friedrich Harding), Emma Corrin (Anna Harding), Willem Dafoe (Prof. Albin Eberhart Von Franz), Ralph Ineson (Dr. Wilhelm Sievers), and Simon McBurney (Herr Knock) Directed by Robert Eggers (#780 - The Witch, #1833 - The Northman)
Review:
"A lot of people talk about my films as stylized. But aside from the fairy tale composition, it’s not intended to be stylized. I over-rehearse with the intention of it being in the actors’ muscle memory, so that it doesn’t feel like hitting a mark. If you’re doing expressionist cinema, you are aware of the artifice so much, because it’s stylizing the world in a way that is completely unrealistic. Here, obviously — you know, I’m sick of talking about my research, too, but obviously the verisimilitude of the material world is very important to me."
In 1922, a movie from a cheap studio came out with unusual circumstances. Prana Film was behind one and only one film: this one, which had been founded by Enrico Dieckmann and Albin Grau, with the latter being an occultist artist (supposedly, he was inspired to do the film based on an experience in World War I, where he met a Serbian farmer that apparently had a father rise from the grave to feed on blood); Grau designed the sets and costumes, complete with making up a letter with "Enochian" symbols that shows up in the film. The duo brought Henrik Galeen in to write a screenplay that would be inspired by the 1897 novel Dracula (as written by Bram Stoker) and F.W. Murnau as a director. Of course, Florence Balcombe, the widow of Stoker, did not like hearing that someone made a movie freely adapted from Dracula and issued a lawsuit, with the result being the negative and all prints of the film ordered to be destroyed (incidentally: years after the lawsuit, she did grant the rights of the book to a guy who made it into a play for the theater which, well, she didn't get the entitlements for it). But the movie, unlike Balcombe, would endure in the public sphere. Over a half-century later, Werner Herzog was eager to make his own "homage" of Nosferatu and waited until the copyright for Dracula to enter the public domain to make what became Nosferatu the Vampyre (1979). which had the names of the book characters incorporated for a curious outcome of artful terror (it set itself in 1850, whereas both the 1922 and 2024 film are set in 1838). As a youth, Eggers found an image of its star in Max Schreck that had him obsessed enough to later direct a stage version of Nosferatu. Eggers had first been tapped to direct a Nosferatu remake since the first announcement being in 2015. Each version has their own distinct edge in terms of the climax (the 1922 movie details a "pure-hearted woman" offering blood of her own will, the 1979 movie features an awakened sick man, and, well, "the purity of dawn" is something you have to see here).
I'm not quite sure where I would rank it among movies involving vampires, but it probably will rest pretty high, managing to outrank directors who tried to make their own Dracula movies such as Bram Stoker's Dracula (1992), for example. But with this "folk vampire" story, one will have plenty to highlight in a movie that focuses on a psychic and erotic connection with a creature of pure evil that emanates haunting atmosphere most films would dream to have. It is the perils of being blinded by perceived enlightened times at the cost of folk tales. With a film like this, we get to participate in the ritual of folk terror that clearly had plenty of investment from Eggers in history and curiosity (for one, Eggers had already read Montague Summers in terms of his work on vampires but obviously one would wonder about the imitation of Vlad the Impaler and the works of Jean-Martin Charcot in terms of hysteria). In short, Eggers has crafted his own legend of unsettling nature that earns every moment it crafts in terror with craftsmanship made from love that is deliberate in its pacing (132 minutes) for all of the senses possible. Interestingly, Skarsgard had read for the role later played by Hoult (of course, I can't imagine what the film would've ended up with Harry Styles or Anya Taylor-Joy as leads). Skarsgard (as aided by opera singer Ásgerður Júníusdóttir in lowering his vocal range) is exquisite in his unsettling nature as a rotting Transylvanian nobleman corpse. He ends up wrapped in darkness and makeup that makes him pretty distinct in an obsession and rotting core that one can certainly see as both repulsive and seductive. Wrapped in agency as a victim of choices (most significantly the ones to start and close the movie) is a wonderful Rose-Depp that seems to understand the darkness that lies beneath the surface of the time one is wrapped up into with a grace that works well in selling this gothic tragedy. Hoult is the most normal of the folks in the main group, which namely means a man having his 19th century preconceptions shattered (consider that in this version, he is even warned to not go to the Carpathian Mountains by his wife), which he handles with worthy timing. Rounding out the cast is a mix of strange seasoned dignity, whether that involves the conventional in Ineson, the shaken Taylor-Johnson (who gets to have a disturbing last highlight), or, well, the occult magic of Dafoe, who plays the role with gusto in terms of shattering belief that dominates the screen in a way that is distinct from the usual "vampire hunter" role because of how committed he is mystical devotion. Of course, Corrin and McBurney also do well in the cast (the latter proves quite suitable in raving madness). Above all, this is a tremendously gorgeous movie to view in Gothic despair (as captured by Jarin Blaschke), one in which there are plenty of moments to simply gaze in curiosity, whether that involves a nighttime ritual (consider what they do there when compared to how things go in the last scene involving vampire confrontation) or the leadup to meeting Orlok on his realm. As a whole, it is a charmer of the grotesque that builds its dread for righteous furor for a damn good time that likely will improve with further viewings. It is a tossup to figure out what lurks best in the totally-not Dracula adaptations, but you will not go wrong here.
Overall, I give it 9 out of 10 stars.
Review #1254: The Manchurian Candidate.