Nosferatu: A Symphony of Horror

I despise most vampire stories. Not even Florence Stoker's dear departed husband could keep me occupied after the first act in Transylvania in "Dracula". The vampire has been so romanticized as an archetype (particularly during the '90s) that I can't but feel that most horror fans have forgotten exactly what made us afraid of these guys to begin with. Murnau's "Nosferatu" is just such a reminder and, because of that, is the only screen version of "Dracula" that I have ever loved.

Though Murnau, in the hopes of dodging the copyright bullet, took many liberties with the novel, he actually shot a great part of the film on location (an unusual practice for the time) in the historical Dracula's old stomping grounds: the Carpathian Mountains in Romania. The town, landscapes, and castles were all for real, not just some fancy studio backdrop. To me, it helps convey the tone of authenticity, as you can believe this story being told. As for Max Schreck, no charming, suave seducer is he. With his bald head, bushy eyebrows, rat-like teeth, pointed ears, nails as long as the fingers they are attached to, emaciated build, and stare that seems to come from the bottom of Hell itself, he is the primal, archetypal image of the vampire of legend.

While some could interpret this tale as a subtext to Nazism or anti-Semetism, at it's core, it's simply the tale of a monster, who brings ruin and death in his wake. That such a tale has managed to survive it's era, considering the obstacles that could have totally removed it from view, is the gain of all who have seen. Eat your heart out, Bela Lugosi.

For copyright reasons, Bram Stoker's novel was filmed with the names of the characters changed (Orlok for Dracula, for example) but otherwise the story remains the same: a young man goes on a trip to see a mysterious count in order to sell a house, leaving his bride behind, and finds that the creature he meets is not of this world.

As the extremely creepy Orlok, Max Schreck is brilliant, with his long fingernails and gaunt appearance. A triumph in early cinematic make-up. Gustav von Wangenheim portrays the confusion of the victim well, as does Greta Schroder as his wife. FW Murnau directed the film with flair, showing us not only shadowed vistas and abandoned castles, but the nature outside (foxes) and miniature worlds evolving under a microscope. This film sits well with his later 'Sunrise' in showing the effect of outside forces on a young couple, as well as being one of the key early horrors in its portrayal of Stoker's anti-hero.

This version of the Dracula tale remains one of the best, although all have some different perspective on the novel. On the strength of 'Nosferatu' alone, Murnau deserves his place as a true innovator of silent cinema.

Quite possibly my own very favourite movie. No vampire film before or since has been either as disturbing or as artful. Less overtly "expressionistic" than some of the other German films of the day, but no less visually impressive. Look at the seascape where Ellen/Nina/Mina pines over her departed husband. Watch those marvelous shadows, which we see in Bremen more often than the vampire itself, used especially effectively in the closing sequence.

And look at Max Schreck himself! While Bram Stoker gave his Count affinity with wolves and bats, Murnau favours that rat, both in that they surround him and that he physically resembles a shaved, cadaverous rat. Spreading his pestilence, Max Schreck is truly the vilest, most loathsome villain in the history of film. The scene where he rises suddenly erect from his coffin aboard ship is one that horror directors everywhere should study very carefully.

Nosferatu is also noteworthy as the origin of the idea that vampires are killed by sunlight, previously present neither in literature nor folklore. In response to the poster who complained that the vampire seems to be walking around in light before his death, these scenes are set at night. In the original versions, there was a blue tint over these scenes to let you tell night from day; it's difficult to tell the difference without them.

My copy is marred with some hilarious inappropriate sound effects (such as a massive "BOING" when the gates of the castle open on their own accord) which I've learned not to hold against the film itself.

Thank God that Florence Stoker did not manage to completely wipe this film of the face of existence.

As I'm sure it is the case for many cinema fans, my respect and admiration towards this production widely excels the enjoyment I had while watching it. "Nosferatu" is a milestone from every possible viewpoint and it's one of those very few movies I think everybody should view at least once (although it actually requires repeated viewings…) It is the very first version of Bram Stoker's legendary vampire tale and easily the most copied film in the history of cinema. I'm sure everyone is familiar with the story of young estate agent Jonathan Harker traveling to Transylvania where he acquaintances the eccentric count who feeds on blood and controls the ones he has bitten, but THIS is the original version. Shot by F.W. Murnau (who also made the equally essential titles "Faust" and "Der Januskopf") and made unforgettable by Max Schreck in his performance as the Count. And, even though this film is over 80 years old, Schreck's image is still as nightmarish as it can be. No visual or make-up effect could ever surpass the simple appearance of Max Schreck! The fact that this film is still very powerful therefore almost entirely depends on his unworldly character. "Nosferatu" is beautiful poetry, difficult to watch at times, but very rewarding. The sexual undertones as well as the shock-aspects have surely dated by now, but they're still present, and – as I mentioned before – they only increase my respect for Murnau and his crew. A definite must see, just make sure you're in the right mood.

I watched the Kartes Video Communications 1984 video cassette version on a 15 inch screen. Titles were in English. Film quality was good. Sound was matched to action. Cropping appeared good, and titles were completely visible. This should give an idea of the technical quality of the release I watched.

Nosferatu is one of the few silent movies with a significant following today. It deserves a following. The film is a suspense piece. Still it is paced nicely so that it feels tense in the right places but never goes long enough without something happening so as to be boring.

Visually Nosferatu forms the precedent for the vampire in movies. The main difference is that Count Nosferatu has more affinity with rat than bat. Aside from this the main stream image of the vampire is based heavily on Nosferatu. This film has been as influential on modern vampire mythology as the novel Dracula. It is based on the novel Dracula. Especially disturbing to me personally are NosferatuÕs twisted hands.

In terms of the filmÕs being silent, this should not put anyone off. The suspense/ horror genre fits well into this medium. I was lucky enough to see a version with music matched to the scenes, but if the copy you are watching has a bad sound track just play some music you like.

I recommend this film to anyone interested in the horror or suspense films. It is a bit of a cult film, but this does not keep it from being actually good.