Nosferatu’s Final Moment Is an Act of Consent

As a woman who has spent countless hours immersed in both literature and horror films, I must say that I find Bill Condon’s adaptation of Bram Stoker’s Dracula, specifically the character of Ellen, to be a breath of fresh air. The way he reimagines this classic character, giving her agency and empowerment, is truly commendable.

Spoilers follow for the 2024 and 1922 versions of Nosferatu, including the endings of each film.

Choosing the title “Ellen” for a vampire movie lacks the same intrigue as “Nosferatu.” However, Robert Eggers’ reinterpretation of the classic vampire story distinguishes itself particularly through its portrayal of the character, who in F.W. Murnau’s 1922 silent original was merely a passive victim serving her husband. In contrast, Lily-Rose Depp’s Ellen is on a quest for personal redemption.

In his four films, Eggers’ female characters often come across as self-centered and enigmatic, a response to the harsh, patriarchal societies they inhabit. For instance, Thomasin in The Witch, mistreated and underappreciated by her colonial parents for being a daughter, finds solace in a new life with Black Phillip. Similarly, Queen Gudrún in The Northman forms a new family with her brother-in-law following her husband’s death; whether she was abused or seeking personal fulfillment remains unclear. Lastly, the monstrous mermaid in The Lighthouse, though not fully developed as a character, embodies both the allure and mystery of nature, as well as perhaps the complexity of a woman’s mind, with her aggressive yet sensual interactions with Ephraim Winslow.

In Eggers’ films, women are often portrayed with compassion, yet their reasons can be ambiguous – a pattern that Eggers deviates from in the character of Ellen, played by Johnny Depp. Similar to Anya Taylor-Joy’s Thomasin, Ellen is a young woman whose estrangement from her childhood was due to an unhappy home environment, and she seeks connection and self-realization from an older, malevolent figure. Unfortunately, Taylor-Joy had to withdraw from the role due to scheduling conflicts. Eggers’ admiration for F.W. Murnau’s Nosferatu, a film that inspired him to become a director, is evident in his work – he uses the same character names as the original German movie and preserves many of its narrative beats and visual elements, such as Nosferatu’s adaptable shadow. However, unlike its predecessor, this version of Nosferatu gives most of its female characters opportunities to shine, show their human side, and act heroically. This is most evident in the film’s conclusion, which reimagines but also redefines Ellen’s tragic sacrifice.

In the revised version of “Nosferatu,” I no longer portray my character Ellen as eagerly sacrificing herself for Thomas, as a heroic act or self-inflicted tragedy often referred to as fridging. Instead, in light of Eggers’ expanded backstory, my young bride doesn’t merely decide to spend one night with Count Orlok; she decides to confront her past disgrace, the initial relationship with him. By utilizing this connection to vanquish him, Ellen’s final act is not a passive surrender but a catalyst for an investigation into consent. In this new interpretation, Nosferatu is more than just a vampire; he’s a stalker, an obsessive, a terrible ex-boyfriend who won’t let go, especially when he learns that I’ve moved on happily. His haunting of my dreams can be seen as him spamming my DMs, and the nightmares he forces upon me are a form of revenge porn. This guy is a real creep! To counterbalance this, Eggers develops my character more fully, portraying Ellen as a woman who’s torn apart by Nosferatu’s interference and determined to reclaim control over her own body and sexuality.

In a time long past, I was a woman named Ellen, wrapped in a shroud of dread as my husband embarked on his business journey, feeling an uncanny fascination towards Nosferatu once I discovered a tiny portrait of me among his belongings. My wardrobe was mostly black, and my nights were filled with restless wandering. My story started and ended in the presence of Thomas; both my initial and final scenes were beside him. In contrast, this modern adaptation of Nosferatu puts Ellen front and center, making decisions – impulsive, shortsighted at times, but also purposeful and wistful – about her own life.

In both films, they employ ancient texts to portray their mythology, but each film uses unique language. The initial movie states that “only a woman can shatter his dreadful curse – a woman with a pure heart – who willingly gives her blood.” In the updated version by Eggers, there’s no emphasis on purity. Instead, it necessitates a “fair maiden” to “bestow her affection upon the beast,” which shifts the focus more towards courage rather than maintaining chastity. Johnny Depp portrays his character’s final moments with a mix of complex emotions, providing insight into Ellen’s thoughts, from tearful acceptance to sensual allure to unyielding resolve. Whereas her performance was previously marked by trembling limbs, moans, and extended tongues, it transforms here into a controlled display, reflecting Ellen’s deliberate decision.

In both films, Ellen manipulates Thomas to leave them alone so she can attract Nosferatu. While Murnau’s film shows only one night between Ellen and Nosferatu, emphasizing the vampire’s haunting features, Eggers’s film depicts a more complex interaction as they are not meeting for the first time. Ellen needs to persuade Nosferatu that she is no longer resisting him, and her actions and expressions become vital in this scene. Her body language is assertive in Eggers’s portrayal, unlike the lumpish figure on the bed in Murnau’s film. As they engage physically for the first time, Ellen must convince Nosferatu of her desire for him. In both versions, however, Ellen ultimately emerges victorious, even as Thomas returns to her side after Nosferatu shrivels away in the morning sun.

In Eggers’ novel “Nosferatu”, women often stand defiantly against impending doom. The character Katerina Bila, or the “virgin on horseback,” leads Thomas to a Romanian cemetery and helps a vampire hunter find the “unclean spirit” that the villagers intend to exorcise and kill. She maintains her composure, acting as a leader instead of a sacrifice. Nuns provide shelter for Thomas when he escapes Orlok’s castle, risking their own safety to help him. They also use their knowledge of counteracting vampires to nurse him back to health. Back in Germany, Ellen’s friend Anna (Emma Corrin) never abandons her, standing up for Ellen against her husband Friedrich’s criticisms. She defends Ellen’s character and even empathizes with the mental torment she endures when Nosferatu infects Ellen’s mind. These women exhibit a strong sense of individuality that mirrors Ellen’s personal journey, allowing her to reclaim her sexual past without the original shame and guilt associated with it. By intentionally using her body as a weapon, “Nosferatu”‘s Ellen transforms into her own savior.

2024-12-25 02:54

Nosferatu’s Final Moment Is an Act of Consent

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