How the Original Nosferatu Was Nearly Destroyed From Existence

As a seasoned connoisseur of cinema history, I can confidently assert that F.W. Murnau’s “Nosferatu: A Symphony of Horror” is not just a chilling masterpiece, but a testament to resilience and artistic ingenuity. Much like the undying Count Orlok himself, this film has risen from the ashes of copyright disputes and legal battles to claim its rightful place among the greats.

The silent horror film “Nosferatu: A Symphony of Horror,” created by director F.W. Murnau, continues to be hailed as a masterpiece not just in the horror genre but also for the German Expressionist movement. This enduring acclaim becomes even more remarkable considering that most copies of the film were destroyed shortly after its release due to a court order, as Murnau had violated copyright laws related to “Dracula” author Bram Stoker. However, it seems that Florence Stoker’s short-term victory couldn’t prevent the lasting influence of “Nosferatu.” The film’s significance in horror cinema is already substantial, and its legacy is expected to expand further with the upcoming release of “Nosferatu” from director Robert Eggers.

Prana Film was a movie production company that specialized in creating tales revolving around the supernatural and occult. They commissioned Henrik Galeen to adapt Bram Stoker’s famous novel, “Dracula,” into a screenplay, despite not having the film rights. To avoid copyright issues, several modifications were made to the narrative: Count Dracula was renamed Count Orlok, the story’s setting was shifted from Britain to Germany, and instead of turning victims into vampires, Orlok killed them. Despite these alterations, the resemblance between the two stories is striking, leading many viewers even today to consider the character in “Nosferatu” as the actual Dracula.

In 1912, Bram Stoker passed away, and ten years later, the film “Nosferatu” was unveiled. The advertisements for “Nosferatu” claimed it as an adaptation of “Dracula,” causing Florence Stoker, who was still grieving her husband’s death, to take legal action against Prana Film. During this court battle, Prana Film eventually faced bankruptcy. Instead of seeking financial compensation, Stoker demanded that all copies of the movie be destroyed. The court granted her wish, although the exact number of destroyed prints is unknown. What remains are a limited number of incomplete copies.

Although some prints were lost over time, those that remained ended up in museums and started undergoing restoration. The modern versions of Nosferatu have been assembled using various prints, requiring parts of the film’s music score to be re-created as well. A debate exists regarding the original Nosferatu as some copies are solely black and white, while others incorporate yellow or blue tinting in specific scenes to depict day or night. It is said that the color tinting preserves the authenticity of the film, but some of these claims are speculative.

Regardless of Stoker’s diligent attempts to suppress Nosferatu, his efforts were unsuccessful. Furthermore, this film played a significant role in German Expressionism, standing alongside classics such as Dr. Caligari’s Cabinet and The Golem: How He Came into the World. Additionally, Nosferatu has contributed significantly to the development of vampire mythology. For instance, while sunlight merely weakened Count Dracula, Orlok was destroyed by direct exposure to daylight.

Approximately ten years following the debut of Nosferatu, Universal Pictures acquired the rights to Stoker’s Dracula, which they transformed into the 1931 film starring Bela Lugosi. This production was a significant achievement in its own right, and Lugosi’s portrayal of Dracula, with a more accurate depiction of the character, laid the foundation for the seductive and attractive image of vampires (as seen in works like The Lost Boys, Bram Stoker’s Dracula, Interview with the Vampire, and True Blood). On the other hand, Max Schreck’s portrayal of Orlok in Nosferatu set the stage for a more ghastly and monstrous representation of vampires (as seen in works like Salem’s Lot, From Dusk Till Dawn, and 30 Days of Night).

Pondering upon the uncertain origins of “Nosferatu: A Symphony of Horror,” its enduring impact on horror cinema is undeniably profound, not just for its original qualities, but also for the countless tales of terror it has inspired. To envision a universe devoid of this cinematic masterpiece, due to Florence Stoker’s failed attempts at erasing it from our collective memory, sends shivers down my spine.

Robert Eggers’s Nosferatu lands in theaters on December 25th.

2024-12-19 02:39

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