‘Nosferatu’ Review: Robert Eggers’ Obsessive Take on Vampire Classic Looks Gorgeous, but Lacks Bite

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As a seasoned horror enthusiast with a penchant for the macabre and a deep appreciation for the rich history of the genre, I must admit that Robert Eggers’ “Nosferatu” left me somewhat underwhelmed. While visually stunning, the film fails to fully capture the eerie, chilling atmosphere that made its predecessor a classic.

Robert Eggers’ “Nosferatu” tribute, reminiscent of early horror classics, offers something beyond a mere remake, yet falls short of delivering a wholly captivating cinematic experience. Stunningly beautiful as it is, the film boasts compositions that rival masterpieces from Flemish art. However, Eggers’ meticulous adaptation of Murnau’s expressionistic vampire movie feels overly solemn and strangely lifeless compared to his previous works such as “The Lighthouse” and “The Witch.” Despite being more accessible than these films, it seems to lack the vitality that one would expect from a horror film.

In recreating the original, Eggers acknowledges Murnau’s unique style, yet shows more than just imitation skills. The director, who pays close attention to details, presents his interpretation of the classic work, treating each frame as a self-contained piece of art, and adding layers to the Romantic elements of the story. However, the film “Nosferatu” could have been more successful if not for its heavy, affected dialogue, slow pace, and subpar performances, particularly by Lily-Rose Depp in the role of the doomed heroine. The movie culminates in a tragic ending, but is dragged down by these shortcomings.

Initially regarded more as a tribute than an original work, the first “Nosferatu” film actually bore a striking resemblance to Bram Stoker’s “Dracula,” with many elements clearly borrowed. In fact, it was so similar that Stoker’s widow filed a lawsuit for copyright infringement and won. The ruling mandated the destruction of all copies of the movie, but the undying nature of myth proved true in this case as well. At least three full prints managed to survive, ensuring that Max Schreck’s chilling portrayal, as the tall, gaunt German actor who played the Count Orlok character inspired by Dracula, remains among the most memorable monsters in horror genre history.

Orlok’s bald head, pointed ears reminiscent of Spock, sharp rat-like teeth and bony claws are instantly recognizable to almost everyone, whether they’ve seen the old silent film or Werner Herzog’s 1979 remake (where Klaus Kinski played a role with his blood-sucking replaced by scene-devouring). Interestingly, the antagonist in Eggers’ version shows only a small resemblance to Schreck’s original terrifying specter – an unusual choice for this new “Nosferatu”, as it presents a hairier (and seemingly toothless) portrayal of the character to appeal to a newer audience.

In “Shadow of the Vampire,” I was captivated by Willem Dafoe’s chilling portrayal of Schreck, a role he could have equally mastered as Orlok. However, in this production, director Eggers chose Bill Skarsgård, who sent shivers down our spines as the demonic clown in “It.” Surprisingly, the director then concealed his star under layers of zombie-pirate prosthetics, transforming him into a disheveled biker from Hell’s Angels, primarily characterized by decaying skin and wild whiskers.

In the prologue, Eggers’ reinvented Orlok momentarily appears, causing those around me to startle before laughing together, as if acknowledging that such frightening moments are what they anticipate. Yet, one may wonder, what does a modern “Nosferatu” audience truly seek? Eggers’ screenplay adheres to the original storyline where inexperienced clerk Thomas Hutter (portrayed by Nicholas Hoult) is dispatched to secure Orlok’s signature on a property deed for a dilapidated house. However, compared to the subtly sinister actions of Orlok towards his guest and later any obstacles in his path to unite with Thomas’ wife Ellen (played by Depp), this narrative setup could induce boredom.

To be honest, without the unexpected fast editing and sudden sound effect, the initial appearance of Orlok wouldn’t have been very frightening. His appearance – a lean face, long nose, and wild beard – is something we’ve all seen during the pandemic, especially on friends who decided to grow their beards excessively like Vikings (perhaps influenced by Eggers’ film “The Northman,” which had high ambitions but was ultimately ineffective).

Drawing inspiration from Vermeer and other esteemed artists in the careful orchestration of his scenes, Eggers showcases a powerful creative vision, but falters as a storyteller – an unexpected shortcoming given the richness of the source material. “Nosferatu” now seems more reminiscent of “Dracula” than ever before. Like Harker, the protagonist in Stoker’s novel who is also a solicitor and the first narrator, Hutter journeys to Transylvania to meet his client. Upon reaching Orlok’s castle, his eerie, ancient host fixates hungrily on a wound on Hutter’s finger and demands that he sign a scroll bearing a Faustian appearance.

The following day, Hutter stirs from sleep, finding a series of small, close-set bites on his exposed chest, an instinctive feeling that his spouse is in peril. We had sensed this unease earlier, given Ellen’s past with Orlok, albeit her history with the vampire wasn’t immediately clear – it merely served to hint at their connection. Unfortunately, the chemistry between husband and wife, portrayed by Hoult and Depp, is somewhat overshadowed by their melodramatic acting style, which seems to seep into the overly elaborate dialogue crafted by Eggers.

In “The Lighthouse,” the filmmaker deliberately filled his characters’ dialogues with elaborate, antiquated nautical phrases for effect. However, this movie’s dialogue is more understandable due to a similar attempt at fancy word choice, which unfortunately feels forced, much like Johnny Depp’s ever-widened gaze or the exaggerated performances by Aaron Taylor-Johnson and Emma Corrin in their stylized roles.

In “Nosferatu,” the ornate costumes, impressive sets, and unique, almost black-and-white cinematography by Jarin Blaschke create a richly immersive viewing environment. However, despite this, the horror at the film’s core doesn’t quite deliver as intended. Werner Eggers uses intense music and unusual editing techniques to provoke fear, but even these efforts fall short. The underlying message or metaphor isn’t always clear. Although “Nosferatu” effectively captures age-old fears of predation that are inherent in vampire tales (the way Orlok leans over Thomas and later Ellen suggests a powerful sexual symbolism), scenes involving Satan worship and disease-carrying rats detract from the overall impact.

In this portrayal, the vampire is devoid of fangs, instead relying on menacing long claws that create an eerie atmosphere across the landscape. Night after night, Orlok presents himself as a persistent ex-suitor with a questionable past, seemingly intent on seducing Ellen rather than appearing as an all-powerful, terrifying supernatural entity to be feared. Eggers regrets overemphasizing aesthetics and neglecting the characteristics that originally made Orlok so iconic.

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2024-12-03 00:49