Nosferatu: Phantom der Nacht

If anybody ever founds a Vampire Museum (and who knows, somebody somewhere probably already has), it would be unjust to devote anything less than a wing to Werner Herzog's "Nosferatu," one of the most stunningly beautiful 'horror' films I've ever seen. While I place 'horror' in quotes, it is not because of a default urge to pigeonhole something into a genre to which it barely qualifies--no, it's because "Nosferatu" is like watching an exquisite painting magically put in motion. There is fear and eerie atmosphere aplenty (much of which is provided by a recurring classical music cue), mixed with a rat fixation that becomes oddly symbolic. Unlike F.W. Murnau's 1922 version, this 1979 remake is as much about the existential despair of the undead condition rather than simply the plight of a blood-sucking vampire; while many scenes are recreated shot-for-shot, Herzog is no plagiarist, and actually improves on many of the technical shortcomings that hindered Murnau's film decades before ('night' no longer looks like mid-day, for instance). The film's supernatural love triangle remains intact, and again hinges on Lucy Harker (Isabelle Adjani), who steals the movie from the none-too-modest talents of Klaus Kinski (Count Dracula) and Bruno Ganz (Jonathan Harker). While some may find it slow and ponderous, this "Nosferatu" is one of the best vampire films ever made (besting even Murnau's version), a moody character piece with visual ingenuity to spare.

I would like to heap strong praise on the cinematographer in his ability to make a color film that looks almost black and white. These muted colors and use of dull blues and lots of grays REALLY enhance the film and give it a beautiful moodiness and creepiness. This is by far the best aspect of the movie.

As for the acting and writing, I was less enthusiastic. In addition to the stark lighting and cinematography, the acting itself was VERY stark and way too subdued. The moody scenery was good--the moodiness of the acting was NOT. While the movie should not have been high energy, at times it felt like it had almost none and tended to bore me from time to time. With a SMALL does of adrenaline, it would have been a lot better. The slowness of the film just seemed too much and the film would have improved by just speeding up the filming, as there are just too many long and deliberate scenes. Some see this as artistry--I see it as just too over-indulgent.

Although very dated, I still think the original is the better movie of the two. Unlike NOSFERATU (1979), it was unique and not just some come lately remake. And, and many ways, the original silent version is more haunting and terrifying.

I just purchased this on DVD and its easily one of my favorite new disks. Included in the DVD masterpiece are: the English Version, the German Version with English subtitles, audio commentary by director Werner Herzog, 2 different US theatrical trailers, 1 Spanish theatrical trailer and even a making of the movie mini-feature!!! Very worth the money!!!

This is not an average movie by any means!!! It also appears to be a salute to the great German Expressionist films of the early 1900's. The story line is very intelligent and compassionate. The dialogue is spoken very soft and slowly. There is not very much action in the film, but the performances and cinematography are nothing short of breathtaking!!

Klaus Kinski plays a very convincing Dracula in this 1979 classic. His slow movements are almost hypnotizing!!! Just watch how he moves his hands!! They move so slow and very mysterious!! The guy who played the "nut case" was great!! The images of coffins, crucifixes, rats, and how rumors of the plague were spreading were brilliantly executed.

If you liked this film, you might want to check out 1992's "The Cronos" for another example of a compassionate and intelligent story about Vampires, but set in Mexico. Both films explore the "humanistic" internal conflict in vampires.

Another classic collaboration of Werner Herzog and Klaus Kinski, Nosferatu is not just a remake of the F. W. Murnau silent classic, but an extension of it. Herzog not only develops the Stoker story more directly than the original did, but even reintroduces the original characters - Orlok becomes Dracula, and the Hutters become the Harkers.

Like many of the films involving Herzog and Kinski, Nosferatu is a period piece and creates the context of its plot through beautiful cinematography and a relentless but unhasty pace, not through the script. ThoughKinski dominates the screen just as he always does in these collaborations, the performances of fellow greats Isabelle Adjani and Bruno Ganz are also worthy of mention. Ganz's Jonathan Harker is certainly the most sympathetic character in the film, and Adjani's Lucy is beautiful, spooky, and just odd enough to fit the role perfectly.

Nosferatu is a retelling of the Dracula tale. Unlike its generally inferior competitors, Nosferatu - both the 1922 and 1979 versions - sticks very close to Bram Stoker's text - neither elaborating the focus on bloodsucking (obsessed upon by most American interpretations of Dracula), nor revising Jonathan Harker and Dr. Van Helsing as heroic characters, nor adding erotic or romantic elements to the depravity of the original concept. If you know what Stoker was about, you will thrill to the often forgotten aspects of Stoker's novel which are redeemed here - the plague rats, the gypsies, etc.

Kinki's intensity allows him to become a perfect Dracula. He understands his role perfectly and never once slips out of 'the hunter'. This is another very important aspect of the Stoker legend which has been sadly contorted by the popularization of the Dracula legend. Nosferatu's Count Dracula is not a charming eastern European gentleman with a quirky bloodsucking habit and a lovesick soul, he is a wily, terrifying, soulless, inhuman, obsessive, predator. And he has absolutely no concern for the affairs of Homo sapiens sapiens.

The film is mostly shot in Amsterdam's old city, which fits the mood of the film well. Other locations are in Germany, and Dracula's castle, for once, is an actual castle - even the interior shots! The wonderfully eerie and disorienting Popul Vuh soundtrack compliments the typically Herzogian picture-perfect visuals.

This is a great film for those seeking an accessible introduction to film-as-art, and the legendary collaborations of Herzog and Kinski. It will likely annoy those who think of Dracula as a good looking romantic guy with a nasty habit, but is highly recommended for fans of Stoker's original work.

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Werner Herzog's version of Murnau's classic NOSFERATU is a captivating experience. Klaus Kinski is perfect as Count Dracula. He brilliantly conveys the loneliness and sadness of a creature who longs to be human. Count Dracula is the victim in this film, he does not enjoy his immortality and wants only to live, love and die like a human. Isabelle Adjani's ethereal beauty punctuates her ghostlike performance as Lucy, and Bruno Ganz turns in another solid performance as Jonathan.

Like other Herzog films, NOSFERATU THE VAMPYRE is exquisitely photographed, eliciting an almost transcendental experience. Jonathan's journey to Dracula's castle, the dancing of the plague-ridden townsfolk, and the final scene are prime examples.

Once again, using the compositions of Popol Vuh and Wagner, Herzog creates an effective amalgamation of images an music.

One drawback to the film is that it is so beautiful to look at, it is not especially frightening. This may discourage some Dracula fans, but to those who want a hypnotic, smart vampire film, this is the one to see.