From the video case: An unauthorized adaptation of Bram Stoker’s Dracula, Nosferatu is a silent classic that reigns as one of the most frightening films to ever cast its shadow upon a silver screen.
Instrumental in the effectiveness of Nosferatu was director F.W. Murnau’s German expressionist approach, a style of filmmaking characterized by shadowy settings and nihilistic themes, exploring the darkened recesses of the human mind with a distinctly imposing visual style.
Rather than depicting Count Dracula as a shape-shifting monster or a debonair gentleman, Murnau’s Graf Orlok (as portrayed by Max Schreck) is a nightmarish, spidery creature of bulbous head and taloned claws, perhaps the most genuinely disturbing incarnation of vampirism the cinema has yet produced. (1922, b&w, silent)
Mark says: I’m doing an injustice to this film by reviewing it on a “B-movie” site, but it certainly qualifies as a horror/cult classic. Let’s be clear from the beginning: Nosferatu is a cinematic work of art, not a drive-in second feature.
So much has been written about Nosferatu and its great direction by F.W. Murnau (Faust, Der Januskopf) that I can do little but echo the applause. It’s place in horror cinema can not be overstated.
Though the acting, by today’s standards, seems marred with the limits of silent film, the overall atmosphere is somber and bleak. Once Max Schreck appears, you are no longer distracted by demonstrative performances.
However, this film is not only a work of German expressionistic art, it’s scary, too.
Take this little test with me. Suppose you are walking down a dark alley, whom would you least like to meet:
c) or, Max Schreck as Count Orlok?
If you’re like me, Bela would make me slightly uneasy, and Mr. Lee may cause me to move to the other side of the alley, but Max Schreck would make me scream and run in the other direction entirely.
Schreck’s portrayal of Orlok is so hideously vile that he invokes disgust even in modern day viewers. Orlok is a monster’s monster, part corpse, part spider, part rat, and completely evil. Even his shadow will give you the creeps. All this without the benefit of sound.
Though Nosferatu is based on Stoker’s Dracula, there are some significant differences. Most strikingly, the use of Christian symbols (primarily the cross) are stripped from Murnau’s film. With the religious overtones removed from the story, it becomes less about a conflict between good and evil, and more about the conflict of human nature.
In Stoker’s novel, Van Helsing plays a tremendously significant role, but in Nosferatu, Bulwer (the Van Helsing equivalent), is reduced to a background player. Bulwer has nothing whatsoever to do with the vampire’s destruction, leaving this responsibility to Ellen.
It’s interesting to note, that Stoker’s widow sued when she saw the obvious similarities to her husband’s story. As a result, all prints of Nosferatu were ordered destroyed. Fortunately for us, prints kept cropping up in other countries, giving us the privilege of enjoying the film in our own homes.
The historic significance of Nosferatu would be enough to give it a top rating, but it’s the artful direction of F.W. Murnau combined with the genuinely chilling performance by Max Schreck that rightfully earns it my highest distinction.
Scene to watch for: Count Orlok wanders the streets toting his coffin.
Quote to watch for: “Not so hasty my young friend! No one escapes his destiny.”
Mark’s Rating: ! ! ! ! ! out of 5.