‘It’s the allure of destruction’

As a connoisseur of horror and a student of film history, I am thrilled beyond measure at the impending arrival of Robert Eggers’s Nosferatu, gracing our screens on New Year’s Day 2025. With a pedigree that includes modern horror masterpieces like The Witch and The Lighthouse, it is clear that this film will not only pay homage to the classic tale but also bring something fresh and unique to the table.

Nosferatu will be in cinemas from New Year’s Day 2025. Add it to your watchlist

The narrative of Nosferatu has graced the silver screen on countless occasions, with its original version, an unauthorized yet impactful interpretation of Bram Stoker’s groundbreaking horror novel Dracula, premiering as far back as 1922. Since then, a variety of directors such as Werner Herzog and Francis Ford Coppola have attempted to bring the world’s most renowned vampire story to life in fresh and engaging manners.

Now, it’s Robert Eggers’ turn to adapt the timeless tale, with the director known for recent horror masterpieces like “The Witch” and “The Lighthouse” infusing his unique aesthetic into a fresh film set to hit UK cinemas on New Year’s Day.

As a devoted cinephile, I’m eager to share my thoughts on the latest portrayal of Count Orlok by Bill Skarsgård. Unlike past screen interpretations, this version delves deeper into traditional folklore, giving us a vampire that carries a more authentic, timeless essence. Skarsgård himself describes the character as “the allure of destruction,” encapsulating the unchanged terror and intrigue that Count Orlok embodies.

As a movie enthusiast, I’d put it like this: “I’m discussing with RT about Ellen Hutter, portrayed by Lily-Rose Depp. She’s grappling with a husband who is benevolent, loving, and caring – the epitome of goodness. Yet, there’s another side to him, one that embodies destruction and the fascination with it.

“But it could also be substance abuse. It could be so many different things where we’re drawn towards something that we know is destructive to us, but we cannot help being drawn to it.”

Indeed, portraying the tangible image of devastation should be effectively ominous and intimidating to create a significant impact. For Skarsgård, finding the perfect vocal tone for the character was crucial in this aspect.

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Nosferatu review: This creepy and compelling new take on vampire myth is a thing of beauty

He collaborated with an opera artist and developed a 30-minute performance specifically designed to avoid coming off as contrived or fake. The final product showcases a deep, strongly accentuated voice that undeniably sends shivers through listeners – at least, this is what his fellow performers claim.

According to Nicholas Hoult (the actor portraying Thomas Hutter), one of the initial clues about Bill’s character portrayal during rehearsals was that Rob had a prepared voice recording with the accent he was developing for the role.

Immediately from then on, it struck me as though this would profoundly alter what Bill was working on. Additionally, that voice reverberated powerfully throughout the space, creating an unsettling, eerie atmosphere.

As a film enthusiast, I initially found myself gripped by fear. But as the physicality, costume, and makeup of the character unfolded, along with the depth Bill infused into it through his research and creation, it became something truly extraordinary. It felt so authentic and lived-in that it sent chills down my spine, for it seemed like a genuine entity that could have existed.

Skarsgård’s extensive research for the role exemplifies the meticulous approach of Eggers and his team throughout their work, a tradition that has carried over from his previous three films. Consistently dedicated to maintaining historical authenticity across various aspects such as sets, costumes, and dialogue, this detail-oriented mindset was evidently appreciated by Hoult upon joining the project.

He remarks, “From just a glance at one of his scripts, it’s evident.” He continues, “The unique language and vividly descriptive aspects immerse you in the world portrayed.

Furthermore, it’s meticulously planned at every stage. For instance, consider the costumes, makeup, and set designs – these aspects are already carefully thought out before the actual filming begins. Interestingly, he prepares a storyboard detailing all the shots throughout the entire movie ahead of time. Consequently, he and his cinematographer, Jarin Blaschke, have mapped out precisely how each edit, cut, and scene will be captured.

It’s not unexpected that Eggers has been readying himself, in some capacity, to produce this movie for quite a while. What might surprise you, though, is the length of his preparation.

The project, initially launched in 2015 following the success of his first movie “The Witch”, actually traces its roots to a theatrical adaptation that Robert Eggers had created as early as high school. However, it’s worth noting that the new film shares only a few similarities with his original concept.

He remarks that the movie is quite distinct from the play he performed in. Unlike the play, which was essentially a silent film staged, and more expressive than the F.W. Murnau film, it was designed to mimic the style of “The Cabinet of Dr. Caligari,” with its expressionistic, cardboard-made sets. Overall, it was quite modest in presentation.

However, he mentions: “One aspect that survived from the production was the ending being more like a duet, which I initially misunderstood as a child. But it turned out to be the only way I could discover authenticity in staging it and working with the actors.

Perhaps I wasn’t the ideal selection, but it seemed to be the sole solution that made sense for me at the time.

2024-12-24 19:34

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