Nosferatu: The Monster in the Shadows

Bram Stroker's Dracula published in 1897. F.W. Murnau's Nosferatu released in 1922. Francis Ford Coppola's Bram Stroker's Dracula in 1992. Now, in 2024, we have Robert Eggers Nosferatu. 127 years after the original publication, the lore of "Dracula" is alive and well. Like many stories that are over a century old, new perspective and interpretation are born for the newer generations. For me, I was introduced to "Dracula" by Francis Ford Coppola. I was only 6 when it released, but I imagine I first saw it not too far there after (my mom was very transparent and open about, well everything, including exposer to movies with adult themes). From some of the pre-movie chatter, I realized this may be many people's first introduction to this specific story, the story of Nosferatu. If so, what a visually stylized way to be introduced. If you're like me, familiar with aforementioned movies, then you are familiar with incredible visual story telling that comes with this tale. The question is, did Eggers meet or even exceed it's predecessors?

The film grabs you by the throat within it's first scene and hopes it's grasp wont release until the required table setting is complete, which may have been one of the weaker sections of the movie. Once we get to Count Orlok's castle, there's no turning back. The gothic setting is beautifully lit throughout the movie, which is quite the challenge considering that the majority of the scenes take place in dark or low light. The camera moves in a way that provides picturesque scenery, while also at times staying with a subject to make the audience sit in discomfort. The use of shadows pay proper homage to 1922's Nosferatu while still feeling fresh. The shadows were not just merely optical candy, but a metaphor for fear and death that follow us all. I'll get to that a bit later.

The performances in the film were equal parts compelling and exaggerated. I understand the over the top deliveries are called for this type of tone, but at times it took me out of the scene as the "acting" was very apparent. This was the case for most leads outside of Bill aka Count Orlok, (that Skårsgard family sure is talented) but is mostly exemplified by Lilly-Rose Depp. A lot is asked of her and she does memorable physical body work, but there are some scenes where you see the actress and not the character. Nicholas Hoult was fine, but didn't necessarily stand out but did what was required and seemed to improve as the film progressed. Willem is Willem, meaning he was great, but had shades of his character in The Lighthouse and other Eggers projects. I think the actual standout performance was Simon McBurney as Knock. I was unfamiliar with his game and from his first scene he had an aura about him that captured the character wonderfully.

Now, back to the metaphors. Throughout the story, the plague is devastating the local community and is parallel to Count Orlok's activity. It struck me that"Dracula" was a creation for the "Third Plague Pandemic" (remnants of "The Black Plague" from centuries prior) that affected much of Europe. My thoughts then led me to another significant monster that was created to explain fear and death to it's people. Godzilla. Godzilla was an invent out of Japan to act as a metaphor for the nuclear attacks that took place on Hiroshima and Nagasaki. We as humans have told stories from even before we were able to speak and have birthed fantastical fictions to explain fear and death. All that to say, fear and death still move in the shadows and this version of Nosferatu is the latest manifestation to represent the angst in us all.

In the end this is an excellent film that is both rewarded and burdened by it's predecessors. Rewarded in that it provides a modern gothic take that is equally terrifying and visually stunning. It is burdened that the audience has been exposed to a wide variety of horror or even vampire specific projects over the past several decades, that it's impact wont be as affective for everybody. As I watched, I couldn't help but think of 1922's Nosferatu (for obvious reasons), but even more so Coppola's rendition. The costumes, make up and effects still hold up for me and Eggers's version didn't necessarily surpass that. This is not a knock on the film, just the burden of comparison.

So did it meet or exceed it's predecessors? Is Nosferatu still the monster in the shadows? If this is one's first exposure to Bram Stroker's Dracula story, it's grasp is sure to hold on and not let go. If not, you'll likely be impressed with the craft and appreciate the vision, but still have a strong affection and affinity to previous presentations, and there's nothing wrong with that. One thing is for sure is that the story of Dracula is still the genesis of monster stories that would follow the next 127 years. Every generation needs it's monster in the shadows.