As a movie enthusiast with a penchant for the macabre, I find myself inexplicably drawn to Robert Eggers’ chilling masterpiece, Nosferatu. Contrary to popular belief, this film isn’t just about death and despair; it’s also a love letter to the cozy, the comforting, and the downright hygge aspects of 19th-century Central Europe.
In Robert Eggers’ film ‘Nosferatu’, life isn’t particularly pleasant. Children are preyed upon, the fictional town of Wisberg is ravaged by a plague, and an eternal, sinister creature arrives, bringing doom to many. Quite unfortunate! Yet, despite Nosferatu’s persistent gloom, there’s something undeniably charming about Eggers’ 19th-century Central European setting. Could Wisberg be the perfect place for a wintry romantic escape? Of course, disregard the plague, it’s not worth worrying about.
It’s not just me who finds myself longing for a home in Wisberg after watching the movie, isn’t it? The film immediately creates a warm and inviting atmosphere, which is emphasized when Thomas Hutter (played by Nicholas Hoult) enters the spacious office of a real estate firm. There, he meets Herr Knock (Simon McBurney), who offers him a permanent position in the company if he can successfully negotiate with a reclusive count some distance away. However, as we soon learn, this task isn’t what it seems. Knock, who initially appears suspicious, is actually working under the instructions of Count Orlok (Bill Skarsgard), also known as Nosferatu, who desires to be reunited with the woman he desires – Ellen (Lily-Rose Depp), Thomas’s new wife. At this point, Thomas remains unaware of these circumstances. He’s merely a naive individual trying to establish himself and provide for his spouse.
In essence, this entire passage sets the stage for what I found captivating about the scene – its enchanting ambiance. The real estate office is a symphony of sensory experiences: the sound of old wooden boards squeaking, the dimly lit bookshelves casting shadows, the smoky interior, and the flickering dance of flame light. Upon entering Knock’s office, Thomas finds him methodically sorting through documents, creating a soothing ASMR effect with each rustle. Thomas, clad in his winter wardrobe of thick coats and sturdy boots, exudes a sense of Christmas cheer that is hard to resist. A soft sigh escapes me as I describe this scene.
The sense of warmth and coziness permeates the entire film, particularly during scenes set at Friedrich and Anna Harding’s lavish estate, inhabited by them and their two children. Whenever the movie transitions to this grand mansion, my mind drifts towards wrapping myself in a warm blanket near one of its numerous crackling fireplaces. This feeling is even present in scenes that are supposedly unpleasant, such as Count Orlok’s ancient, decrepit castle. As the ghoulish figure – draped in shaggy garments – manipulates innocent Thomas into signing unfavorable contracts, my gaze was repeatedly drawn to the captivating way dust dances around in the soft glow of the fireplace, creating a very hygge atmosphere.
Tactile appeal, ambience, atmosphere: Eggers’s filmmaking style exudes a delightful tactility, a trait that hints at his previous career as a production designer before directing The Witch in 2015. Working closely with costume designer Linda Muir and fellow production designer Craig Lathrop, who have been part of all his projects, Eggers meticulously creates authentic historical settings – the 1600s New England of The Witch, the 1890s New England of The Lighthouse, ninth-century Scandinavia in The Northman – with such tender care and attention to detail that one can’t help but wish to linger longer in these environments, despite the fact that they often harbor more trouble than joy.
In a surprising twist, filmmaker Eggers, known for his dark films and resembling a drummer from a death metal band, excels at creating an unexpected sense of comfort. For instance, in “The Witch,” a family of Puritan exiles live in constant terror of a demonic goat, yet scenes around the dinner table, dimly lit by a solitary lantern, evoke a unique feeling of safety and belonging. Similarly, in “The Lighthouse,” Eggers presents a dark comedy where Robert Pattinson and Willem Dafoe lose their sanity, but the shared isolation in an old, creaky lighthouse during fierce storms offers a sense of escape from the elements. This comforting feeling is also present in “The Northman.” Despite its intense scenes, such as Alexander Skarsgård’s nude fight in a volcano, the image that stands out is the moonlit encounter between Skarsgård and Bjork’s seeress. In this film, light is a rare commodity, making the few instances of it, like the soft moonlight bathing the scene, even more impactful.
In much the same manner, the film Nosferatu instills a sense of tension by juxtaposing scenes of intense cold against attempts to counteract it (bundling up, seeking warmth near fires). This contrast highlights an intriguing correlation: To fully savor the delight of warmth, one must first understand its scarcity in a world that’s harshly frigid. In other words, experiencing true pleasure often demands an intimate knowledge of pain. From a sensual perspective, this idea shares similarities with vampiric concepts and, indeed, resonates strongly with the style of Robert Eggers.
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2024-12-25 21:54