Nosferatu Review: Gothic Horror at Its Finest

As a die-hard fan of gothic horror and someone who has followed Robert Eggers’ career since his groundbreaking debut with “The Witch”, I can confidently say that “Nosferatu” is a masterpiece. The film is a testament to Eggers’ growth as a director, blending authenticity, realism, and surrealism in a way that’s both unsettling and captivating.

In 1922, F.W. Murnau introduced audiences to “Nosferatu: A Symphony of Horror,” an unofficial take on Bram Stoker’s “Dracula.” However, it was not until a decade later that Bela Lugosi portrayed the title character in a legitimate adaptation of “Dracula.” Unlike the terrifying ghoul from “Nosferatu” with his bald head, sunken eyes, and sharp fingers, Lugosi’s count was captivating, both seductive and alluring to both on-screen characters and viewers. In Robert Eggers’s modern adaptation of “Nosferatu,” he successfully combines these classic horror archetypes into a unique and chilling interpretation. This new version can be seen as the pinnacle of Eggers’s career, demonstrating his deep affection for gothic horror classics while simultaneously reinventing them with fresh elements that were previously underrepresented in previous iterations of the story.

Desiring a substantial income boost and promotion to enhance his and his wife’s lifestyle, Thomas Hutter (Nicholas Hoult) agrees to a job that entails traversing 19th-century Europe to wrap up real estate documentation with the enigmatic Count Orlok (Bill Skarsgård). Thomas’s wife Eleanor (Lily-Rose Depp) voices her concern, emphasizing her deep affection for her fiancé outweighs any monetary gain, yet Thomas still embarks on his six-week expedition. As he encounters the peculiar occult ceremonies of neighboring villagers, Thomas eventually reaches Orlok’s castle and confronts a bewildering, grotesque entity. Both Thomas and Orlok share an affection for Eleanor, but when she begins experiencing inexplicable episodes of psychosis, they both aim to alleviate the confusion upon their reunion with her.

Just like most versions of Dracula, the movie Nosferatu follows the main plot points. When reviving old stories, there’s a risk of being too faithful to the original or straying too far from it. The new version of Nosferatu isn’t radically different from its source material, but what makes it stand out is the combination of creative filmmaking techniques and strong acting performances that surpass any horror fan’s expectations.

Individuals who have watched Eggers’ films such as “The Witch“, “The Lighthouse“, and “The Northman” might not be taken aback to find that a gothic horror is where Eggers’ skills are most effectively showcased. Each frame, each shot, and every sequence seem as if they could be transformed into a baroque painting, demonstrating his ability to acknowledge and pay tribute to the German expressionist movement, Tod Browning’s 1931 “Dracula“, and Hammer Films from the ’60s and ’70s, while simultaneously incorporating his own unique style of surrealist storytelling. Some viewers might label these stylistic choices as derivative, but they instead appear to be a refinement of over a century’s worth of cinematic interpretations of the supernatural.

The most significant departure from the previous works that Eggers makes is his portrayal of Eleanor, which is significantly enhanced by Depp’s convincing acting. Traditionally, Eleanor or any female character resembling her is shown as an innocent who is pursued by a terrifying figure because of their captivating charm. However, Eggers altered the role of Eleanor in the story by presenting an opening scene that fundamentally changed how she was perceived.

In the beginning, Count Orlok isn’t introduced yet, but filmmaker Eggers hints at a deep-seated darkness in Eleanor that has haunted her for years. Neither Eggers nor Depp explicitly reveal what this darkness entails, leaving it open to interpretation by viewers. This ambiguity adds depth and sadness to Eleanor’s character, as she appears to be isolated from her community, societal norms, and loved ones due to this otherness. Ironically, Orlok emerges as the answer to her call for relief from this isolation, embodying any malevolent force troubling one’s life.

Since fans learned that Skarsgård would portray the legendary monster, there’s been curiosity about how he would embody the role physically. Eggers and promotional materials have purposefully kept the creature enveloped in mystery, although it’s clear that this version of Orlok isn’t what fans might anticipate. Fans should moderate their expectations a bit, as this Orlok may not fundamentally alter everything known about vampires. However, it doesn’t mean Skarsgård’s physical transformation won’t be unlike anything seen before. Much like how Eggers pays tribute to Max Schreck’s Orlok from 1922 while also channeling Lugosi’s Dracula, Skarsgård draws inspiration from various sources to create an Orlok that is frightening, alluring, sophisticated, and monstrous all at once. Skarsgård not only intimidates the characters but also amplifies the omnipresent influence of Orlok through his physicality, as well as transforming his voice into a spine-chilling pitch that resonates deeply.

In this film, Johnny Depp and Alexander Skarsgård truly shine, yet the remarkable performances of actors like Hoult, Willem Dafoe, Aaron Taylor-Johnson, Emma Corrin, Simon McBurney, and Ralph Ineson add significant weight to the production. Typically, these supporting actors would garner most of the praise, but Depp and Skarsgård’s compelling portrayals manage to steal the spotlight. Notably, Dafoe’s role as a Van Helsing-like scholar with an unusual fascination for cats and the supernatural is as intriguing as one might anticipate.

In a fresh and intriguing manner, Eggers debuted with the movie “The Witch,” offering an exploration of paranoia set in a specific historical era rather than the chaos many horror fans anticipated due to its witch-themed title. The filmmaker’s commitment to authenticity makes “Nosferatu” a suitable platform to display this dedication, as he immerses viewers in various settings ranging from snowy forests to rat-infested cities to vast castles. These environments are even more vivid due to the movie’s music, sound effects, and cinematography. However, the realism is twisted when Eggers emphasizes the film’s surreal elements. Whether it be the eerie, ghostly hands spreading over an entire city or a frightening figure looming behind a curtain, the realism of most of the film makes these moments feel even more unsettling. Remarkably, Eggers successfully captures the essence of Murnau’s original work without simply imitating it. For instance, one of the most famous visuals from the original movie is Orlok’s silhouette climbing a staircase although his physical form remains unseen by viewers. While Eggers recreates this eerie atmosphere, he does so in an innovative and effective way.

For over a decade, Eggers has expressed his ambition to create his rendition of Nosferatu, encountering obstacles along the way that necessitated him to focus on other projects. These hurdles were undoubtedly discouraging not just for the director but also his followers. However, the end result turned out to be the zenith of all his abilities, as previous endeavors equipped him with the skill to refine his craft and comprehend the value of self-restraint. Given Eggers’ past work, it wouldn’t be a surprise that his Nosferatu would display visual brilliance and emotional depth, while being both romantic and terrifying. Yet, it’s Depp’s captivating portrayal and Skarsgård’s chilling transformation into Orlok that elevates this production beyond Eggers’ masterpiece; it also stands as a significant reinterpretation of a century-old tale that will serve as the iconic gothic horror for future cinema enthusiasts.

Rating: 5 out of 5

Nosferatu will land in theaters on December 25th.

2024-12-07 01:12

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