Nosferatu review: The oddly erotic, box office hit drenched in bloody dread. BRIAN VINER rates the nightmarish new Dracula flick
As a cinephile who’s seen their fair share of horror flicks, I can confidently say that Nosferatu is a chilling masterpiece that sends shivers down my spine and leaves me yearning for more. The film’s roots reach back to the very beginnings of cinema, making it a landmark in cinematic history.
Robert Eggers, the director, has once again proven his knack for creating haunting worlds with an unparalleled level of detail and authenticity. I was particularly captivated by the performances – Lily-Rose Depp’s portrayal of Ellen is nothing short of mesmerizing, while Willem Dafoe steals the show yet again with his enigmatic Professor Von Franz.
What sets this film apart from others in the genre is its exploration of obsession and sexual tension that borders on the uncomfortable – a testament to Eggers’ audacity as a storyteller. It’s a dark, twisted tale that leaves you questioning your own moral compass.
But let me tell you something, my fellow horror enthusiasts – if you find yourself getting a thrill out of this film’s twisted love story, then maybe it’s time to reevaluate your taste in entertainment. I mean, even Isaac Newton would have crawled back into his mother’s womb at the sight of some of these scenes!
In all seriousness, Nosferatu is a must-watch for any horror fan, and I can’t wait to see what Robert Eggers cooks up next.
Kick-starting a new year at the cinema with a movie as chilling as Nosferatu, soaked in fear, can seem ominously prophetic for the future. Yet, it might just be my overactive imagination. After all, it’s just a film. And a truly excellent one.
This new movie is a painstaking re-creation of the 1922 silent German film with the same title. It’s quite remarkable to think that filmmakers can now draw inspiration from over a century ago, if not more. Interestingly enough, the 1922 film was released only 25 years after Bram Stoker’s famous novel Dracula was published, which it was adapted from. This new version seems to have a strong connection to the original storyline.
In simpler terms, even though the movie was released after Bram Stoker had passed away, his wife Florence was still living, and she took legal action against the producers for copyright infringement. She won the case, and they were forced to give up all copies of the film, which were then destroyed.
Fortunately, some managed to make it through. Thus, we find ourselves in a position where writer-director Robert Eggers expands his impressive resume, which includes The Witch (2015), The Lighthouse (2019) and The Northman (2022). He is indeed a master of suspense.
The story of Nosferatu unfolds primarily in the seaside German town of Wisborg, during the year 1838. Ellen, portrayed by Lily-Rose Depp, is a beautiful yet troubled woman, who has just married Thomas Hutter (Nicholas Hoult), a sincere and gullible real estate agent working for the suspicious Herr Knock (Simon McBurney). This man seems to hide many secrets.
When Mr. Knock informs Thomas that he must journey to a far-off location with information about a property in Wisborg, the directive seems more foreboding to us than it does to him. The purchaser, a Count Orlok (played by Bill Skarsgard), hails from an ancient noble family. According to Mr. Knock, this Count resides in a secluded area, east of Bohemia, nestled within the Carpathian Alps. Eek!
In a chilling Transylvanian fortress dwells Count Orlok, infamously known as the bloodthirsty vampire Nosferatu. Since her youth, he has formed an eerie psychic bond with Ellen that allows him to travel from his castle to Wisborg. Accompanied by a horde of diseased rats, this connection brings Orlok and his sinister presence to the town. As the evil seeps in, it claims the lives of the Hutters’ friends, the Hardings (Aaron Taylor-Johnson and Emma Corrin). The malevolence spreads, casting a dark shadow over everyone and everything in Wisborg, a chilling reminder of his control reminiscent of the 1922 film.
However, it appears that he has come specifically for Ellen, and only the unconventional Professor Von Franz (Willem Dafoe) seems to understand the situation. In a contemporary perspective, Orlok might be seen as an overly possessive admirer, yet Ellen seems to welcome his advances. This narrative carries a strong sensual undertone, though few would openly admit to finding it appealing. In fact, those who do should probably be kept at arm’s length.
The performances across the board are exceptionally impressive. Depp stands out as exceptional, while Dafoe, making his third film with Eggers, delivers another outstanding performance, even eliciting laughter when the professor humorously remarks that ‘I have witnessed phenomena in this world that would make Isaac Newton reconsider his birth.’
Having spent a significant part of my life immersed in the world of cinema, I must say that Eggers stands out as a director with a unique vision. His ability to create nightmarish worlds is uncanny and impressive. With each film he directs, his mastery over the craft becomes more evident, as if he has perfected the art of turning dreams into chilling realities on screen. It’s a testament to his skill that he can take us on such harrowing journeys without compromising on the quality of the storytelling or the execution. Eggers is a director who truly understands the power of cinema and uses it to great effect, leaving audiences with an indelible impression long after the credits have rolled.
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2024-12-30 18:53