The second part to double-feature review, and, surprise surprise, it's also vampire-themed! If you've seen Dracula, you may not have seen 'Nosferatu', or vice versa, so hopefully at least one of the two will give you something new to read about. Enjoy, and tomorrow I may be posting something other than a film review (though still film-based, of course).
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Film Review: 'Nosferatu: Eine Symphonie des Grauens' (Nosferatu: A Symphony of Horror')
‘Nosferatu’ is a black-and-white, silent film from Germany in 1922, but don’t let that put you off. It is also an interpretation of Bram Stoker’s renowned novel ‘Dracula’. Taking on such a popular and iconic story so soon after Germany’s hyperinflation crisis was definitely a risky and daunting task, but what was produced was a marvel of a film.
The important thing to know is that ‘Nosferatu’ is a greatly warped interpretation of the story. Whether it was because they couldn’t quite understand the book, or because of time and budget limitations, the film seems to merge the first and second halves of the book, and cuts certain characters completely. Curiously, it also adds on a section at the beginning which isn’t in the book. However, since the filmmakers are long gone by now, we can’t ask questions, only enjoy the film they left behind.
The first thing that a viewer notices as soon as the film starts is the music. Since there is no audible dialogue or sound effects, the music runs almost the entire way through the movie. I imagine that the music won’t be to all viewers’ liking, but in my opinion it definitely adds another dimension to the film. When it’s happy, it’s happy on a sinister level, and when it’s dark and dramatic, it slots right into any of the scenes.
Right from the word ‘go’, the differences between the acting styles of the now and then are painstakingly visible. Due to the lack of words, the entire cast is buzzing with the energy necessary to make a silent film interesting to watch. Jonathan Harker’s sometimes child-like enthusiasm makes him much more likable than he is even in the book.
Since the film starts in London and shows scenes such as the superstitious Transylvanian village, there is a good long build up to the appearance of the Nosferatu, or ‘Count Orlok’, as this incarnation is often referred to (though not in the actual film).
Max Schreck as the Count is, without question, the absolute highlight of the film. The performance he gives is iconic, every move he makes is chilling. Every scene he is in has you glued to the screen and every scene he isn’t in has the audience waiting with baited breath for the moment that he will appear again.
His blood-curdling performance is authenticated by the costuming department. His outfits are bizarre and show his terrifying form perfectly. The other costumes are also effective as of the time the story is set.
Most people are put off by the thought of ‘Nosferatu’ when told it is in black-and-white. In actuality, the lack of colour and poor picture quality enhances the realism of the motion picture. Of course, in the nineteenth century there was no method of filming whatsoever, but this was made in a time nearer to the actual one than we are now, and the viewer is able to trick themselves with relative ease into thinking that this is actual footage.
The down side to this black-and-white atmosphere is that, because of the lack of efficient cameras, there are no night-time sequences. This unfortunately detracts from the movie what it might have been, but it is nobody’s fault and couldn’t be helped. Luckily, the sheer excellence more than makes up for this drawback.
Part of this is due to the way the film is shot. Although the angles are standard throughout, and hardly adventurous, every now and then a shot is thrown in that sends chills up your spine. For example, the Count emerging from his coffin aboard the Demeter, or the iconic shadow shot of him ascending the stairs.
On the subject of shadows, the shadow effects are here done with much more effectiveness and efficiency than in certain other, more recent films I could name. What’s more, it does the effect without resorting to a projector.
Once Dracula boards the Demeter, the film unfortunately seems to lose its structure slightly. The scenes are less solidly fitted together and more elusively sewn in. Combine this with the aforementioned lack of colour and sound and the end result is that it takes quite some patience to watch ‘Nosferatu’ all the way through. If you can muster up this patience, though, you’ll be glad you did. This film is a treat to horror-enthusiasts and film-fanatics alike.
My rating:
* * * *
(4/5 Stars)
- J. Boulton
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