Nosferatu (2024)

Dir: Robert Eggers

Cast: Bill Skarsgard, Nicholas Hoult, Lily-Rose Depp, Aaron Taylor-Johnson, Emma Corrin, Willem Dafoe, Ralph Ineson, Simon McBurney

Robert Eggers’ gothic fever dream marvellously revives the historic piece of German Expressionism by recapturing its unsettling atmosphere and constant sense of dread

After dying a metaphorical death in the mid 2000’s, the horror genre has been revived over the past decade thanks to an influx of fresh, up-and-coming visionaries that have reshaped and redefined the genre. One of the most impactful directors to have emerged on the horror scene in the past ten years is American filmmaker Robert Eggers. As the genre slowly transitioned from the tiresome reboots and remakes of iconic properties of the noughties, to the more psychologically challenging “elevated horror” releases of the 2010’s, Eggers managed to establish himself as a filmmaker who not only challenges his audience, but also one that spells out his narrative by refusing to mask thematic elements as visual metaphors.

All three of Eggers’ pre-existing movie’s, “The Witch” (2015), “The Lighthouse” (2019) and “The Northman” (2022), explore the supernatural and the occult, whether it be through historic folklore or mythology. Whether they be curses, witches, prophecies or ghouls, the supernatural elements present in each of Eggers’ films are a source of scepticism amongst his characters, but they are ultimately revealed to be very much prevalent in the end. This track record with folk horror and the occult made Eggers the perfect candidate to write and direct the latest adaptation of F.W. Murnau‘s 1922 classic “Nosferatu”.

While it may now be regarded as an achievement in filmmaking, as well as setting a template for the genre, the German Expressionist horror had endured a torrid time following its release one hundred years ago. Produced as an unauthorised adaptation of Bram Stoker‘s 1897 novel “Dracula”, Murnau and screenwriter Henrik Galeen, changed several names, places and other details from the original novel, relocating the central setting from England to Germany. Despite these changes, the narrative similarities were apparent, resulting in Stoker’s widow suing the film for copyright violation, with a court ruling that all copies of the film were to be destroyed. Miraculously, much like the film’s central antagonist, the film refused to die, with several prints resurfacing many years later. This ultimately led to “Nosferatu” being regarded as one of the most influential films of all time, and alongside “The Cabinet of Dr. Caligari” (1920) and “Metropolis” (1927), remains one of the most famous works of German expressionist film over a century later.

Those who have knowledge of either “Nosferatu” or “Dracula” will be familiar with the narrative, with Eggers taking inspirational from both slightly differing source materials. In the fictional German town of Wisborg in 1838, we are introduced to Ellen (Lily-Rose Depp), a young woman with a troubled childhood, who has recently married solicitor and estate agent Thomas Hutter (Nicholas Hoult). Hoping to achieve financial security for his new bride, Thomas accepts a commission from his employer Herr Knock (Simon McBurney), to sell a dilapidated manor in Wisborg to the reclusive Count Orlok (Bill Skarsgard). Despite Ellen’s protestations following vivid nightmares in which she married death itself, Thomas departs on the weeks-long journey to Orlok’s castle in Transylvania, leaving Ellen in the care of good friend Friedrich Harding (Aaron Taylor-Johnson) and his wife Anna (Emma Corrin).

After an arduous journey, which he is shunned by the local Romanian peasants, Thomas finally makes his way inside Orlok’s castle, where he is greeted by the menacing and shadowy individual. After taking Thomas’ locket and seeing a photograph of Ellen, Orlok becomes infatuated with her, and reveals himself to be a vampire after draining Thomas of his blood, leaving him for dead. A weakened Thomas races back to his home to save his wife from the oncoming threat, with Orlok setting sail for Wisborg hidden in a crate filled with dirt and plague-infested rats, with local doctor Wilhelm Sievers (Ralph Ineson) and Swiss philosopher and master of alchemy Prof. von Franz (Willem Dafoe) struggling to deduce the source of the recently arrived affliction.

Within seconds of my packed viewing of “Nosferatu”, I knew this modern interpretation was in safe hands with Eggers’ ambitious visual style immediately taking my breath away. While Eggers and frequent cinematographer Jarin Blaschke ultimately decided against embracing the original film’s colour-dipped, black-and-white photography, they have managed to recreate its chilling atmosphere by implementing an almost monochrome colour pallet, largely comprising of various shades of blue. Blaschke has stated that the creative decision was reminiscent of 19th Romanticism, which perfectly visualises the movie’s central themes surrounding passion, beauty and the supernatural. Count Orlok himself is an undead embodiment of these motifs, who lusts for Depp’s central protagonist, who almost unwillingly finds herself drawn to the Count’s ghostly charms – the beast to her beauty.

Blaschke’s visuals are spectacular, and alongside some stellar period production and costume design, we witness the succumbing of Wisborg to the ungodly force only referred to as “Nosferatu” before our very eyes. Once full of life and prosperity largely thanks to trade business conducted at the local shipyard owned by Taylor-Johnson’s sceptical Friedrich, the small German town soon becomes host to a plague-like outbreak that leaves the cobbled streets lined with corpses.

Eggers and his crew have proven that remakes of classic motion pictures are more than justified if executed well. While Eggers’ script adds very little to the original story, this horror remake is one that primarily serves as a gateway to the original film, which most audiences will outright refuse to watch in their life time due to its age. While I would advise most readers to seek out Murnau’s original, which is currently available on Prime Video, there is nothing wrong with Eggers, or any modern director for that matter, reviving a classic that would otherwise go unnoticed by the average moviegoer. Not only has Eggers raised interest in the original film, but also Stoker’s novel, of which it is heavily influenced by. The American filmmaker himself, not only takes inspiration from the original “Nosferatu”, but also the novel and its legitimate adaptations, most notably Francis ford Coppola‘s interpretation from 1992.

What has become a somewhat common trope with the vampire genre, chiefly in part to Coppola’s re-imagining of “Dracula”, as well as the works of novelist Anne Rice, is that they appear to be extremely lustful for every waking minute. This trend continues here, which harkens back to Blaschke’s decision to stylise the film on 19th Century Romanticism. While these more “intimate” sequences may prove a bit off-putting for some, as well as the general grotesqueness of the period setting, “Nosferatu” is by far Eggers most accessible film to date, while it does hit a slight slump in the second act, the pacing largely remains on point throughout the 140 minute runtime. Robin Carolan‘s unnerving score manages to keep tension levels high from start to finish , and the performances all round are a joy to watch, particularly Hoult, Depp and an unrecognisable Skarsgard, the latter whom seemingly disappears into the imposing, moustachioed figure of Count Orlok.

As a result of its period setting, familiar narrative and off-kilter tone, “Nosferatu” may prove to be too baffling for some cinema-goers, being a huge advocate for Eggers myself I was completely in awe by it. One cannot deny the level of craft and soul he has brought to the table in reviving a bona fide classic, one that was once believed to be dead and buried.

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