Review: ‘Nosferatu’ exquisitely delivers its vision of darkness
‘Nosferatu’ is an impressive adaptation that uses dramatic cinematography to generate an intensely striking Gothic horror picture.
Vampire lore has existed in some form for centuries. Superstitions and fairy tales warned of monsters that hunt at night and feed off the blood of their victims. The legends told of protections that ranged by region and time, including crucifixes, garlic and iron or wooden stakes. Bram Stoker was inspired by these stories and the specific legend of Vlad the Impaler when he wrote Dracula more than a century ago. His book presented one of the first romantic representations of the bloodsucker, inspiring countless other tales and adaptations, though vampires have evolved even further over time. Nosferatu is a return to the monsters of old.
Thomas (Nicholas Hoult) and Ellen Hutter (Lily-Rose Depp) are newly wed and madly in love. But the young bride spent much of her life plagued by nightmares until she met her husband. Yet, in spite of Ellen’s protests, Thomas agrees to a long journey that will secure his position in a law firm. His task is to deliver legal documents to Count Orlok (Bill Skarsgård), a mysterious eccentric who lives in an isolated castle feared by locals. His departure causes Ellen’s melancholy to return, which is eventually diagnosed as a curse by Prof. Albin Eberhart von Franz (Willem Dafoe). At the same time, a series of horrific events signal the presence of evil — and it wants Ellen.
Initially captivated by Max Schreck’s portrayal in F.W. Murnau’s 1922 film of the same name, director Robert Eggers spent several years thinking about his own version of the movie. Inspired by the actor’s unique interpretation and the stark aesthetic, he would adapt the silent picture more than a century after its original release. While Eggers’ translation is a clear representation of his style, he also skillfully incorporates elements of German Expressionism. Most notably, his expert use of shadow and light is not just a means of hiding evil, but of articulating it. The audience’s first introduction to Orlok is as a shade cast over Ellen. In addition, the scenes are carefully framed, creating depth and full use of the space. This, along with the contrasts produce a stunning picture, beginning in the film’s opening moments and continuing to its last.
Skarsgård is becoming a character actor, taking on these distinctive villains and losing himself behind their daunting façades. Even though Orlok does not have a lot of screen time, his presence looms over the whole picture — and the scenes in which he is physically present are unnerving. Eggers makes specific efforts to focus on unsettling aspects of Orlok’s appearance via close-ups, particularly concentrating on his unusually long fingernails and unsightly features. Dafoe reunites with Eggers to play another eccentric, consulted because of his offending interest in the occult. Simon McBurney’s portrayal of Thomas’ boss is even more bizarre as he takes on the Renfield-inspired character with maniacal fervour. Meanwhile, Hoult — who also starred in Renfield as the comedy’s title character opposite Nicolas Cage’s vampire — is a lover turned fighter after barely clinging to life to warn Ellen of Orlok’s interest in her. For her part, Depp is outstanding as a young woman haunted by nightmares that prove real, going from hysterical to formidable from one scene to the next.
Nosferatu was inspired by Stoker’s Dracula, so the story will seem familiar in spite of the different character names. But it’s also an exceptional and unique retelling, featuring a distinct vision, committed actors and striking cinematography.
Director: Robert Eggers
Starring: Lily-Rose Depp, Nicholas Hoult and Bill Skarsgård
