Tag: nosferatu

Opening in theaters December 25 is ‘Nosferatu,’ directed by Robert Eggers and starring Bill Skarsgård, Nicholas Hoult, Lily-Rose Depp, Aaron Taylor-Johnson, Emma Corrin, Ralph Ineson, Simon McBurney, and Willem Dafoe.

Initial Thoughts

Director and writer Robert Eggers has wanted to remake ‘Nosferatu’ even before his stunning debut, ‘The Witch,’ came out in 2016. The silent 1922 original from director F.W. Murnau is one of the landmarks of both horror cinema and German Expressionist film, while Werner Herzog’s 1979 version is both an update of the material and a tribute to the Murnau classic.

Now Eggers has delivered his interpretation of the material, which itself is an adaptation of the Bram Stoker novel ‘Dracula’ in everything but name (the short version: Murnau could not get the rights to the book from Stoker’s widow, so he changed all the names and filmed it anyway). Eggers, our reigning master of period horror thanks to the likes of ‘The Witch’ and ‘The Lighthouse’ (2019), has incorporated elements of both previous versions into his film, along with aspects of ‘Bram Stoker’s Dracula’ (the 1992 Francis Ford Coppola movie) and even nods to other horror cornerstones like ‘The Exorcist’ and Mario Bava’s ‘Black Sabbath.’

Eggers’ dark fantasia may quickly become a modern horror classic in its own right: The macabre, surreal ‘Nosferatu’ is steeped in dread and a thick atmosphere of death and decay, featuring a terrifying monster – played by an unrecognizable Bill Skarsgård (Pennywise in ‘It’) – who proclaims that he is a primal force of evil (“I am an appetite, nothing more”) while emanating a despair and even loneliness that makes his corruption all the more palpable.

Story and Direction

Set in 1838, ‘Nosferatu’ follows the basic plot that should be familiar to both readers of the original novel and generations of viewers who have watched cinematic variations on the tale, with a new wrinkle right from the onset: when we first meet the “melancholy” (as people suffering from depression and other clinical disorders were described back then) Ellen (Lily-Rose Depp), she is a young woman plagued by terrible dreams and loneliness and desperate to make contact with something divine. Her slight touch of paranormal ability – branded “hysteria” – does indeed awaken something far, far away, but about as far from the angelic as one could imagine.

Years later, Ellen is married to up-and-coming estate agent Thomas Hutter (Nicholas Hoult) and has seemingly gotten control of her mental and emotional issues thanks to her newfound happiness. But dark thoughts begin to intrude when Thomas announces that at the behest of his employer, Herr Knock (Simon McBurney), he must travel from their home in Wisborg, Germany to the distant land of Transylvania, where he is to close a deal for an elderly but extremely wealthy count named Orlok (Bill Skarsgård) to purchase a ruined property in Wisborg that he intends to make his new home. Leaving Ellen in the care of their friends Friedrich and Anna Harding (Aaron Taylor-Johnson and Emma Corrin), Thomas begins the long, arduous journey to Orlok’s castle – where he is met along the way by Romani who insist that he turn back at all costs.

Once at Orlok’s ancient, ominous abode – which seems to spread a literal blanket of decay over the land and everything around it – Thomas quickly realizes that there is something decidedly off about his host, who only appears at night. Orlok, of course, knows that Hutter is married to Ellen – the girl who cried out to him all those years ago – and luring Hutter to his castle while establishing himself in Wisborg is all part of Orlok’s plan to come to the “modern world” and claim her, spreading death and plague in his wake.

If there’s anything that slightly lets ‘Nosferatu’ down, it’s the fact that Eggers’ version – aside from the more explicitly perverse relationship between Ellen and Orlok – doesn’t hold many surprises. As fans of either previous version of ‘Nosferatu’ or many adaptations of ‘Dracula’ itself will know, this more or less follows Stoker’s time-tested narrative. Orlok imprisons and nearly kills Thomas before leaving for Wisborg on a doomed ship; his benefactor there, Knock (aka Renfield), arranges for his arrival while going insane; and as Thomas escapes and attempts to get home, a band of loyal friends, including the Hardings, Dr. Sievers (Ralph Ineson), and eventually the eccentric Dutch doctor/metaphysician Albin Von Franz (Willem Dafoe), join forces to protect Ellen against the peril coming for her and Wisborg, at great danger to themselves.

But while the story is familiar, Eggers drenches it in so much rich detail, thick atmosphere, and powerful malevolence that he perhaps creates the most immersive interpretation yet. And even though his Orlok/Dracula has moments where he is almost pitiable, this is perhaps the most purely monstrous version of the iconic character, an embodiment of evil and living death personified in one amazing shot of the shadow of his hand reaching across the darkened rooftops of Wisborg. “Nosferatu” and “Dracula” itself have always used their central character as a metaphor for many things, but the depravity and destruction he brings with him here are tangible like never before.

Also tangible is the time and place of Eggers’ tale, brought to life by his regular collaborators like production designer Craig Lathrop, DP Jarin Blaschke, and costume designer Linda Muir, who all bring an astonishing level of specificity and tactility to the darkened world of ‘Nosferatu.’ Blaschke in particular pays homage to the many versions of this tale that have come before – an eerie sequence in which Thomas walks through a dead forest as Orlok’s spectral coach approaches to pick him up could have been right out of the Murnau film – while creating a Gothic palette that’s wholly original to this movie.

The Cast

With his filmography to date, Bill Skarsgård may become a modern Lon Chaney, the silent film star who specialized in grotesques and monsters. He draws upon both the Schreck and Kinski versions of Orlok, as well as Gary Oldman’s Count Dracula, yet provides a wholly new interpretation of the legendary vampire. Aided by incredible makeup from David White and Linda Muir’s costume, Orlok looks like a real 16th century Transylvania nobleman – albeit one that has been decomposing for centuries.

But all the makeup in the world could not do the job if Skarsgård himself didn’t fully inhabit the role, his blazing eyes and genuinely chilling voice delivering the immensity of Orlok’s depravity and even some of his self-pity and existential horror at his own existence. He, Eggers, White, and Muir have created a monster for the ages.

The other big story of this superb cast may be Lily-Rose Depp. Saddled previously with the HBO debacle ‘The Idol,’ Depp makes Ellen the driving force of the story, her unknowing attraction to the darkness battling with her yearning for a normal life and her love for Thomas. It’s that conflict within that makes Ellen come to life, the two sides to her personality also a metaphor for the women of the era – and many other eras – torn between knowing their “station” and forging ahead with lives of their own making. Depp finds both Ellen’s loving nature and her tragic inner self, as well as the darker aspects of her personality that are brought to bear by the presence of Orlok.

Nicholas Hoult’s Thomas is also given more depth here than the usual stalwart hero he’s portrayed as. Thomas starts out as a relative innocent, dedicated to providing for his wife and their life together, but his exposure to the corruption of Orlok changes him permanently. Hoult – who’s already having a hell of a year with ‘Juror #2’ and ‘The Order’ – delivers another solid performance as a man whose entire view of the world and what exists in it is upended with terrible results.

The other actors – Taylor-Johnson and Corrin as the loyal but increasingly frightened and exhausted Hardings, McBurney as the wildly demented Knock, Ineson as the rational Sievers, and of course Eggers regular Dafoe as the peculiar yet commanding Von Franz, round out an ensemble that does justice to each of their characters, all of them bringing an exceptional emotional and psychological commitment to the material.

Final Thoughts

Not only is ‘Nosferatu’ Robert Eggers’ most personal of his four films to date, a masterful retelling of a classic tale, and an achievement that secures his place among modern horror auteurs like Guillermo del Toro and Mike Flanagan, but it also resets the cinematic depiction of the vampire.

‘Nosferatu’ returns the monster to its ancient roots, particularly that of the Romanian strigoi and other manifestations in Eastern European folklore, shedding nearly all the modern romanticism of tales like ‘Twilight’ while retaining the creature’s symbolism as both a deliverer of death and a purveyor of primal, twisted urges. As a result, this ‘Nosferatu’ can stand proudly alongside its predecessors and may become a genre benchmark in its own right as time goes on.

‘Nosferatu’ receives 9 out of 10 stars.

What is the plot of ‘Nosferatu’?

A young woman haunted by spectral visions comes under the spell of an ancient vampire, whose obsession brings unimaginable evil and horror to everyone in his path.

Who is in the cast of ‘Nosferatu’?

• Bill Skarsgård as Count Orlok
• Nicholas Hoult as Thomas Hutter
• Lily-Rose Depp as Ellen Hutter
• Aaron Taylor-Johnson as Friedrich Harding
• Emma Corrin as Anna Harding
• Willem Dafoe as Prof. Albin Eberhart Von Franz
• Ralph Ineson as Dr. Wilhelm Sievers
• Simon McBurney as Herr Knock

List of Robert Eggers Movies:

• ‘The Witch‘ (2016)
• ‘The Lighthouse‘ (2019)
• ‘The Northman‘ (2022)

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