Nadja

In New York City Nadja, her brother and their slave come to terms with the murder of their father by Van Helsing. Meanwhile the girlfriend of Helsing's nephew, Jim, is taken as a drone by Nadja. Jim and Van Helsing set out to stop the reign of the Dracula family and stop their blood lust.

I didn't even know this was about the Dracula legend when I sat to watch it, just the title drew me and the cast sounded quite promising. The black and white, shaky shots, post modern slant and grainy camera work were both a draw and a turn off for me. On one hand it was very arty, deliberately sticking a finger up to the mainstream. I dislike this feeling - one that the multiplex crowd are unworthy of any film and that the director wouldn't care to have their film be successful and hence uses such things with abandon. However it also made the film much more imaginative and interesting if it had all been full Technicolor with steadicam and nicely framed shots, it was pretty hip and I enjoyed it even if I felt like it was aimed at the art crowd rather than just being a film for anyone or everyone.

The story is quite good, albeit just a twist on the old story of Dracula. The script is where the main difference lies. It is quite talky a film but it is better for it. The dialogue is a little pretentious at times but it is interesting and involving. In terms of characters I'm afraid it falls down quite badly - the grainy images and dialogue that is far from `down to earth' stop the characters from ever being real people or even characters that I felt deeply involved in - but happily it wasn't to the point that I was completely disinterested in them. That's not to say it was great - but it was different enough to keep me interested, even if I wasn't gripped by it at any point. Likewise with the direction, I felt there was imagination but that it went too far to the point of just being experimental and arty for the sake of it. If you are making a film with as good a cast as this had then why on earth would you use a child's camera unless you were trying to be arty? This mindset did feel through the whole film and it was, as I've already said, a pretty big turn off for me.

The cast is great on paper but they struggle with the pretentious dialogue and the fact that the film loses them in a grainy black & white world. I will always watch Donovan but that doesn't mean he's any good. Here he is alright but has precious little to actually do! Fonda is better and plays his character with a sense of humour that the wider film could well have benefited from - I wonder if the director got annoyed by Fonda not playing it straight when he clearly had arty aspirations. Lowensohn is not only beautiful but acts well in the title role but the astonishingly named Galaxy Craze was pretty much cardboard as Lucy.

Overall this is an interesting movie but it struggles under the weight of it's own pretensions. I found it to be different enough visually and script-wise to be interesting and even I found the apparent concerted effort to alienate the mainstream to be slightly off putting. An interesting effort but one that will irritate far more viewers than it will please.

I saw Nadja at the Vancouver Film Festival, and was struck by its freshness. The use of the toy camera with the pixelated (fuzzy) image during the more violent scenes added a nightmarish quality, making it more frightening. Good performances, especially from Peter Fonda who played a wacked-out Dr. Van Helsing character.

One of the more original vampire movies of late. Not just for the goths.

"Nadja" falls into a category of films I would describe as 'vampire movies for adults.' Viewers seeking an action-packed gorefest along the lines of "From Dusk Till Dawn" (1996) or "Blade II" (2002) should bypass "Nadja". Moody, opiated, and dreamily ethereal, it is similar in this respect to Guy Maddin's more recent "Dracula: Pages from a Virgin's Diary" (2002) and not most other modern vampire flicks. Its emphasis on the emotional and evocative rather than physical aspects of the genre puts it in the company of Tony Scott's "The Hunger" (1983) and Po-Chih Leong's "Immortality" (aka "The Wisdom of Crocodiles") (1998). Shot on black-and-white film, a dying art form, with a good musical score by Portishead, it avoids sinking into pretentiousness with occasional, self-parodying irony (example: "He says he's dying ... for a cigarette."). A major drawback to the film is director Michael Almereyda's overuse of the Pixelvision camera, a technology he has used in the past and should have left there. The acting is spotty, but that's of little importance in a film emphasizing atmosphere over character portrayal. Elina Lowensohn in the title role and Peter Fonda as Dr. Van Helsing (played as he has never been played before) do stand out from the rest of the cast. I'd rate this as 'must see' for aficionados of vampire films, if only to take a break from the less imaginative schlock that overwhelms the genre. Rating: 7/10.

Nadja is a very refreshing version of the redundant vampire movies out there. It had beautiful and intriguing cinematography that at times seemed like a livening photograph. Although the average viewer that is used to watching "spoon-fed" movies that do not require any viewer intellect or imagination may find this movie to abstract for their taste, It will Certainly be their loss for this movie is a must see if you are any kind of a movie aficionado. I am very happy to have added this movie to my movie history repertoire. Enjoy.

I liked this very odd, surreal and somewhat camp vampire film much better on 2nd viewing, when I was prepared for its David Lynch like lack of naturalism, strange rhythms and odd blend of silly humor and almost melodramatic drama. (It's not surprising that Lynch executive produced this, and appears briefly in the film).

The black and white, stylized photography, the music, and parts of the dialogue are terrific; original and compelling. And setting a modern vampire tale in the nightlife of young hip 90s Manhattan yields some very interesting results. But at other times it can't seem to make up it's mind about what ratio of camp to reality it wants to be.

In the end, it's not as strong as its recent spiritual offspring: "A Girl Walks Home Alone at Night", but it's still worth seeing -- as is any work from the always inventive, ahead of the curve Michael Almereyda.