Nosferatu the Vampyre
A new Nosferatu A Few Words About Nosferatu the Vampyre (1979) by the Legendary Werner Herzog
There are moments when you watch a film and wonder why it took you so long to discover it. For me, this movie is one of those cases.
Today, the vampire myth has been reimagined countless times, from parodies to inventive adaptations—Swedish masterpiece Let the Right One In being a prime example. We've become accustomed to seeing the classic figure of Dracula as a relic of the past, something straight out of Hammer horror films. But there are those who dared to take a fresh approach to this immortal (or is it undead?) tale, leading us to where we are now.
One such example is Werner Herzog's gothic, lyrical, and unexpectedly romantic masterpiece.
With a stellar trio of actors—Isabelle Adjani (whom I adore, especially after Possession), Bruno Ganz, and Klaus Kinski—Herzog crafts a Dracula (or Count Orlok, since they’re essentially the same character here) like we’ve never seen before. This isn’t the scowling, menacing figure of past depictions, with the evil grin and perpetual malice. Instead, Herzog’s Dracula is a creature of profound loneliness, burdened by the eternity of his existence and his inability to share his dark thoughts with anyone. He pleads for love, even from his victims.
Visually, the film is perhaps the most stunning vampire movie ever made. Herzog treats the audience to one breathtaking shot after another, perfectly timed to complement the plot. It could be a beautiful landscape, a gothic, ominous castle, or even the flight of a bat—everything is presented for the viewer to marvel at.
At the same time, Herzog reimagines the vampire myth through a deeply sensual lens. What might seem like a typical blood-draining scene becomes something far more intimate, as he establishes the protagonist as the object of Dracula's desire. The director imbues carnal lust with a dual meaning—let’s call it uncanny eroticism. This reinterpretation of the vampire myth has since influenced countless depictions, where the act of blood-drinking is often likened to a romantic encounter.
Nosferatu 2024
Orlok’s appearance was a bold, deliberate, and well-thought-out choice, and kudos to the team for doing it. Honestly, it threw me off for about two seconds, but I got over it, and everything else faded away almost instantly.
I LOVED IT.
I loved Skarsgård—his performance was incredible. That voice, oh my god! You can tell he worked on it, and it showed! My expectations were already high, but he completely blew them out of the water. He disappeared into the role!
Depp surprised me. I didn’t expect her to be this good. I know she’s talented, but this role was intense, and honestly, the whole movie revolves around her performance. She delivered more than I could have imagined.
As for Eggers, He has me glued to the screen every time. He took something so classic and made it entirely his own. If only all remakes and reboots were this fresh, standing tall next to their predecessors while offering their own unique perspective. This film was stunningly crafted—breathtaking cinematography, set design, lighting, music. The atmosphere was unreal, and the scenes were so vivid!
Eggers’ approach to the “nightmarish,” to that deeply internal voice of the boogeyman whispering to your soul, resonates with me on a deeply personal level.
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