Review: Entombed in irrelevance, a new ‘Nosferatu’ forgets to be timely — or scary
As a cinephile who has seen my fair share of cinematic adaptations, I must say that Robert Eggers’ take on “Nosferatu” left me feeling rather underwhelmed. While the production design and cinematography were undeniably impressive, the script fell flat for me. The characters felt two-dimensional and the performances, despite the actors’ best efforts, seemed disjointed.
Many times, passionate projects receive praise mainly due to the enthusiasm behind them, the incredible dedication required to turn an idea into reality. However, this admiration for zeal can sometimes overshadow the true artistic qualities of a movie, making a director’s narrow perspective a potential downfall.
In the 2000 film “Shadow of the Vampire,” which portrayed the production of the 1922 silent movie “Nosferatu” in a fictionalized manner, John Malkovich played director F.W. Murnau, who was deeply fascinated with genuine horror. Despite its clever use of modern indie filmmaking techniques, “Shadow of the Vampire” effectively captured the lasting allure of the original movie, a memory that remains significant in our cultural history. Based on Bram Stoker’s 1897 novel “Dracula,” albeit with altered names and details due to Murnau’s lack of rights to the book, “Nosferatu” stands as an iconic piece of German Expressionism. Max Schreck’s portrayal of the vampire in this movie is one of the most memorable villains in the horror genre.
Over the past century, the movie “Nosferatu” has sparked numerous filmmakers’ imaginations: For instance, Werner Herzog crafted his brooding and solitary take starring Klaus Kinski in 1979; meanwhile, Francis Ford Coppola based his lavishly gothic adaptation “Bram Stoker’s Dracula” on the original source material in 1992. Now, Robert Eggers, who earned auteur acclaim with his 2015 chilling colonial horror film “The Witch,” is now bringing to life a faithful remake of Murnau’s movie – a project he has longed to realize for many years.
In simpler terms, Eggers’ version of “Nosferatu” isn’t a playful reinterpretation like “Shadow of the Vampire,” instead it’s a very loyal adaptation that’s so tied to its source material that it’s limited by its respect for the original. If you compare it to a spin, Eggers’ “Nosferatu” is more like a repetitive rehash of the 1922 film, with added graphic violence and sexual content. While Eggers often incorporates classic cinema elements in his work, the depiction of gender dynamics in this remake seems outdated by at least a century.
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With his highly anticipated passion project at last ready for release, the director behind “The Witch” and “The Lighthouse” is set to reimagine the timeless silent horror masterpiece.
Essentially, “Nosferatu” is a tale centered around property transactions and intense desire: A newlywed man named Thomas Hutter (portrayed by Nicholas Hoult) is sent from his humble German town to the Carpathian Mountains for the purpose of finalizing the documentation of a decaying mansion belonging to an enigmatic Count Orlok, played by Bill Skarsgård in an uncanny manner, who is a towering, pale specter with a buzzing voice reminiscent of a hive.
Thomas encounters numerous difficulties with the fearsome Count Orlok. Meanwhile, his young, intuitive wife Ellen (played by Lily-Rose Depp), experiences terrifying nightmares and episodes of sleepwalking at home, seemingly receiving psychic signals from the count who is captivated by her, despite being distant. He travels to his new abode on a ship infested with rats, causing a plague; Ellen contemplates whether she should give herself up to the count to save the town, which has only two other residents besides her husband – a doctor (Ralph Ineson) and a scientist with an interest in the occult (Willem Dafoe).
In the initial hour of “Nosferatu”, there’s a point where Eggers’ film appears to deviate from the traditional interpretation of Murnau’s version. Instead, it introduces a more grounded, anthropological folklore element. For instance, the protagonist, Thomas, enters a quaint Romanian village and interacts with a lively group of gypsies who mock him and hint at their secretive nighttime rituals. This unique, culturally rooted perspective offers a refreshing take on an otherwise familiar story. Additionally, Orlok’s mustache could be interpreted as a tribute to the historical figure, Vlad the Impaler, who served as inspiration for Stoker’s character.
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Instead of sticking with that approach, Eggers shifts course and leans towards heavy reverence instead. The film showcases impressive, dark, and moody production design and cinematography, yet its laborious and emotionally charged script flattens every character to one-dimensionality, despite the intense acting and dramatic deliveries.
In her performance, Depp appears to act with skill and energy, but it fails to reach her eyes except when they roll back in her head. Despite their energetic efforts, both Depp and Hoult struggle to convince the audience. Dafoe, along with Aaron Taylor-Johnson and Emma Corrin as family friends who take in Ellen, add a playful, over-the-top feel to the movie, making it more enjoyable. Simon McBurney, on the other hand, gives an intense performance as the count’s fixer. However, each actor seems to be performing in a different film.
Although the film contains explicit scenes of sexuality, nudity, and emotional longing, there’s no hint of eroticism or sensuality present; similarly, despite the graphic violence and gore, it fails to evoke fear or horror. The movie is essentially an extravagant display of style lacking a compelling narrative. Furthermore, it seems devoid of any deeper meaning or symbolism, with no apparent references to immigrant experiences or foreign cultures. As a result, Eggers’ over-the-top reimagining of “Nosferatu” falls flat, devoid of life and suffocated by its own self-indulgence.
Katie Walsh is a Tribune News Service film critic.
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2024-12-24 14:31