1979 Berlinale Silver Bear For An Outstanding Single Achievement #2
The original ‘Nosferatu (1922)’ remains one of the greatest early films. However, possibly feeling that some aficionados might be put off by the understandably scratchy quality, German director Werner Herzog set about recreating the atmosphere original.
For the pivotal character of Dracula, or Count Orlok, Herzog cast his friend, the mighty Klaus Kinski, who brings an incredible haunted intensity to a role that seemed to be made for him. Whether staring longingly at Harker’s bleeding hand, or his bride Lucy, or snapping into inhuman speed due to his bloodlust, Kinski shines like a beacon in every single scene. It truly is an unearthly performance, he is probably the creepiest vampire of them all.
There were two versions shot of this; an English and a German version. Perhaps because English is not the actors’ native tongue, only Kinski emerges with a believable performance. Other members of the cast do well to sustain the slightly ‘removed’ atmosphere vital to such a dreamlike horror, but the acting does occasionally stray into wooden territory.
And yet everything else is wonderfully ethereal. Harker’s journey, Dracula’s arrival by boat at the Varna seaport, the infestation of plague rats, the vibrant but desolate town, the choice of location and architecture … all these things come together to make a truly spooky film. Happily, the ending doesn’t strive to placate the viewer, as Harker – one of the few survivors of the story – begins to look a little unwell.
I've never seen the original Nosfaratu, so I don't know how it compares to this one, but this remake is not a good film, in my opinion. I rented this film because I thought it would be a scary vampire film, and instead it was an artsy Terrence Mallick-style film. The vampire isn't scary (which is ironic, given how scary he looks). The positives from the film are: beautiful locations (which are shot beautifully); the visual effects (including the make-up); and the acting is excellent (especially Renfield).
I'm quite afraid of rats, so they were the scariest part of this vampire film! Do not watch this film if you have a phobia of rats!
The original version of Nosferatu (1922) is so fundamental to the history of horror cinema that this remake could never get close to replicating its legacy. However, Werner Herzog's faithful tribute absolutely understands what is so momentous about FW Murnau's silent adaptation of Bram Stoker's Dracula.
While the locations differ, the set design employs a similar expressionist style. Both evoke the spirit of German Romanticism, which Herzog actually brings into clearer focus. He tightens up the plot and imagines a more realistic environment... though this may not be why we visit this spectral other-world.
Klaus Kinski would be inspired casting in the title role... if Herzog didn't always use him! Naturally, the star can't make an impact as immense as Max Schreck in the original; Kinski has more pathos, but isn't so mythic. Isabelle Adjani is a standout as the ethereal Lucy Harker, with her gothic pallor, and incredible eyes.
Now it feels like folk horror, with the rural animalism and arcane superstition. But everything here happens in the shadows of Murnau's landmark. Similarly it is also dwarfed by Herzog's other achievements in the 1970s. This is the end of his peak and a welcome extra, rather than integral to his reputation.