'Nosferatu' Robert Eggers Nails The Classic Story
When I think they've exhausted the story of Dracula, in comes Robert Eggers to give the material a fresh take. Nosferatu has a story everyone recognizes, but it takes some strong liberties with it that would make Francis Ford Coppola jealous. Nosferatu is atmospheric, haunting, and cinematically beautiful. Eggers does a spectacular job at keeping the narrative chugging along at a decent pace, not making you notice the over two-hour runtime. From frame one, I was hooked. It starts with a single shot of Ellen Hunter (Lilly-Rose Depp) being seduced by Count Orlok (Bill Skarsgård). The camera is straight on her face as Ellen looks directly into the lens as if she's looking into our eyes.
The film does a brilliant job of building an atmosphere, making Bram Stoker's book come to life on screen. The sound design is eerie. Each growl from the Count has a variety to them. And the howling winds from the castle to the country are unsettling. There's one scene involving horses coming from a carriage in the distance that's wonderfully mixed. To accentuate the sound effects, Composer Robin Carolan creates a chilling score that hits the audience at the right jump-scare moments. If I were to have one gripe with the film, it's that I wish it had no jump scares. The mise en scène is strong enough to provide the horror. A "BOO" moment is a cheap tactic to frighten the viewer.
It’s not a perfect movie. The public's over-familiarity with the story makes some things predictable. Luckily, the film throws a few curve balls, deviating from the source material to create something that has Robert Egger's bizarre stamp on it. Eggers' take on Nosferatu might not be completely original, but it builds a setting other filmmakers have tried to accomplish but dropped the ball on. In this incarnation of Dracula, you feel like you're in the middle of a spell you can't break free from. It's a mesmerizing experience that needs to be seen on the big screen. My little TV and old home theater just can't capture the magic this film has in its cinematography and sound design.
Nosferatu is shot on celluloid. You can always tell when a film isn't shot digitally because it just looks so much better. Film may be a dying format but directors like Robert Eggers, Quentin Tarantino, and Christopher Nolan are keeping it alive. The camera work captures all of the natural color temperatures in the frame and moves buttery smooth opposed to digital's frame stutter when shot at 24 frames per second. The result of the image is stunning. The subtlety in the light, with strong shadows and deep black levels, really creates an uneasy look. Hats off to Director of Photography Jarin Blaschke for creating the perfect gothic atmosphere.
Nosefratu is the classic story of Dracula we all know, but way more sexual. It might be even more horny than the Francis Ford Coppola version but in a totally different way. If you're a pervert who's expecting female nudity in this, be prepared to be disappointed as we see Dracula in the buff, as well as Renfield. The way sexuality plays a role in this film is to make the viewer uneasy. Not aroused.
What further separates this version of Nosferatu from its predecessors is the switching of the characters' names. Dracula never goes by that name in the film. He's simply known as Count Orlok/Nosferatu. Johnathon Harker is Thomas Hutter (Nicholas Hoult), Mina is Ellen Hutter, and Van Helsing goes by Prof. Albin Eberhart von Franz (Willem Dafoe). Try saying that name five times fast. The cast in the film is pretty good. The strongest performance outside of Count Orlok is Prof. Albin Eberhart von Franz. Willem Dafoe commands the screen with his presence as he usually does. Some could say he's overacting, but I think the over-the-top performance is fitting for an eccentric man who hunts vampires for a living.
Of course, you're here to know how Bill Skarsgård is as the Count. He's pretty darn good, but he’s no Gary Oldman. Skarsgård moves and speaks like a man far past his prime. If there's one critique I have for his performance, it would be that his Transylvanian accent is so thick you can't understand what he's saying at times. Skarsgård speaks in slow motion, making the Count almost sound like he's drunk. Maybe feeding on too much blood has made him a bit loopy. However, his presence and hostility towards everyone are chilling. The design of Nosferatu is the most faithful one to the book I have ever seen. Although, it does look a bit silly on screen.
Nosferatu is bald and filled with lumpy spots all over his body and head. Most notably, he sports a huge mustache that kind of makes him look like Dr. Eggman from Sonic The Hedgehog. Luckily, we only get two real glimpses of the Count. One where he's in his birthday suite while resting in his coffin. The other is toward the very end of the film as the camera rotates around the Count during a, let's just say, climactic moment. Most of the time, Orlok is underlit, hiding in the shadows, or is out of focus.
Nosferatu might be Robert Eggers' most conventional film so far, but it's far from a normal one. When it comes to period pieces, Eggers nails it. Nosferatu is no exception. It's an incredible example of how you can tackle a familiar story in a fresh way. When you reach the film's climax, you'll likely be terrified and repulsed. Dracula has never been more alive than in this film. Not only is Nosferatu a good horror film, but it's also one of the best renditions of the famous vampire to be released. Treat yourself this Christmas by giving in to Nosferatu's darkness during the bright holidays.
Nosferatu releases in theaters nationwide on Christmas Day.
