A vampire who is infatuated with a young woman escapes his castle, travels to Germany to find her, and faces the men who are hell-bent on stopping him.
Believe the hype, but know what to expect from the script. Written for the screen and directed by Robert Eggers, Nosferatu becomes the next epic, dark, and gothic fairytale that will be discussed in the years to come. Released 102 years after the original Nosferatu: A Symphony of Horror (1922), the script combines that first early encounter with German Expressionism (which was defined a few years later) and Bram Stoker’s Dracula (1992). In that respect, the script does not offer much; it is just a fresh take. You know what will happen and more or less when and how it will happen. What differs is the plan and who will die in the process in order to get there.
Having said that, several elements make Nosferatu stand out. First and foremost, the cinematography. Haunting, eerie, dark and the ultimate representative example of the evolution of German Expressionism. Cold environments feel cold, and warm environments feel warm. As for the shadows, they visually represent the film’s theme and create their own manipulative existence. The editing’s role is integral as it controls the film’s pace and rhythm without creating false expectations, keeping the script tight and emphasising the individual and collective high stakes. The costumes, hairstyles, and makeup effects are thrilling, pulling you into the 1900s, and Count Orlok couldn’t be more representative of the undead titular villain that has haunted mankind for generations – in literature and cinema.
Eggers has achieved the ultimate “old wine, new bottle.” He found a way to show outdated techniques visually in a current and relevant way. See, for example, Orlok’s psychic communication with Ellen. Without the particular style of editing, it wouldn’t have been so effective. Or, the way the shadow on the wall with the protruded arm hovers upstairs. These are hundred-year-old techniques that, in modern cinema, one could see in comedies. Yet, the way he has used them still stays relevant and effective. The same applies to the melodramatic dialogue that mostly serves a theatrical purpose. Again, the way Eggers stages the action draws the audience in, and the particular vernacular seems natural – to the point that everyone speaks British English in a German city and is considered OK. Speaking of the people who speak the language, Lily-Rose Depp, Nicholas Hoult, Bill Skarsgård, Aaron Taylor-Johnson, Willem Dafoe, Emma Corrin, Ralph Ineson, Simon McBurney, and the rest of the cast create amazing on-screen chemistry, delivering Eggers’ dream. Last but not least, an extra round of applause goes to the rest of the crew that, if it weren’t for the last runner, this film wouldn’t look like it does.
When you watch a film, think of this: whose story is it? Nosferatu has an ensemble cast and feels like it is no one’s story. At least, this is how I felt. By definition, the story does not focus on a particular protagonist’s point of view, which sometimes spreads the script thin. Again, that is a tiny thorn in a visual masterpiece that will be discussed for a long time in the industry and academia. Arguably, though, he has succeeded in making the audience feel like it was a hundred years ago when the audience felt the same while watching the original. Eggers is a cinematic genius, and I, for one, look forward already to his next film.
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