NOSFERATU (1922). F.W. Murnau’s NOSFERATU, EINE
SYMPHONIE DES GRAUENS (‘A Symphony of Horror’) is probably the most famous
character and film of the Expressionist period. Murnau wanted to adapt Bram
Stoker’s Dracula novel, but on discovering how much gaining the official rights
would take from his budget and box-office, NOSFERATU was altogether too ‘freely
adapted’ by Henrik Galleen from the text without permission. As a result,
Stoker’s widow successfully sued to have all copies of the film destroyed.
Thankfully, due to the passion of film fans, enough prints survived to be
preserved for posterity.
Murnau’s
stunning tribute to Stoker is structured in five acts, set in Wisborg, Germany and
begins by introducing the upbeat young lead Hutter, a pleasingly breezy
optimist (Gustav Von Wangenheim) and his more cautiously smart wife Ellen
played by Greta Schröder. (These are effectively the Jonathan and Mina Harker
of Dracula). On the way to work, Hutter runs into a friend who remarks with notable
foreshadowing that “No-one outruns his destiny!”
Our hero works for property agent Knock (Alexander Granach), a colourful
cuckoo with the bald head, side tufts and eccentric demeanour of a mad
scientist. He’s also a trifle sneaky as shown when he sends Hutter to negotiate
the sale of a local home for a new client, Count Orlok. He figures they can
palm off the Count with the large, dilapated house opposite Hutter’s. Knock
adds some unconscious foreshadowing of his own by saying that it may cost them
a little sweat “…and a little blood”.
Soon, Hutter
is packed off to ‘the land of the Spectres’ in Carpathia to settle the deal
with their client. It seems the Count’s reputation with the locals chillingly precedes
him as evinced by their sudden abrupt silence in the tavern when Hutter
announces his destination. They try to warn the young traveller about
werewolves on the road. Staying the night, he skims through some comforting
bed-time reading, a handy old tome called ‘Of Vampyres, Gastlie spirits and the
Seven Deadly Sins’ which warn of a vampire that feeds on the blood of humans
and lives in coffins of ungodly earth. Hutter shrugs off such fantastical flights
of fancy and gets a good night’s sleep.
The next
morning, Hutter’s coach trip to the Castle is cut short when the coachmen
refuse to go right to the door. No matter; our sunny hero carts his own gear up
the hill whereupon he is met by another carriage from the castle. This driver
who offers to take him is a beady-eyed, beak-nosed curiosity whose full face is
bundled up. They ride the rest of the way in comic speeded-up footage till the
driver points dramatically to the mosquito-blown turret of Castle Orlok. He
reveals that he is actually Orlok and admonishes Hutter for tardiness.
Act II allows
Hutter and us to get our first good look at Orlok close-up. Max Schreck is a
magnificently weird spectacle in the part. The aforementioned nose and eyes are
augmented by the skin-crawling addition of two long, needle-sharp, thin front
teeth, pointed ears, overgrown eyebrows and a rake-thin physique amplified by a
long, close-cut coat. (This superb make-up has been imitated often ever since,
most clearly for vampire Kurt Barlow in SALEM’S LOT). Schreck inhabits Orlok
with a marvellously sustained hypnotic focus. Allegedly, the actor put himself
into a form of trance when acting his scenes. His behaviour is unsettlingly
eerie throughout the film, such as when Hutter sustains a thumb knife-cut
during dinner. “You have hurt yourself….Precious
blood” sympathises the Count a little over-solicitously. He also lets slip a
disturbing enthusiasm later when appreciating Ellen’s photo: “Your wife has a lovely neck”.
Hutter awakes
the next day to find two small puncture marks on his neck. Any passing concern
evaporates at the sight of a hearty breakfast, after which he pens a letter to
Ellen recounting the marks and the heavy dreams the castle gives him. “Fear not” he assures her brightly,
though as the less obtuse one in the marriage she is bound to do exactly that
on reading this. Speaking of shrewder folk, Orlok demonstrates he’s no fool
either. On signing the contract, he tells Hutter he looks forward to “that fine, deserted house opposite yours”.
Hutter’s
dense naivete at last shatters as he finally understands all the hints he’s
been getting that his host is actually Nosferatu the vampire. He is almost a
victim as Schreck’s ghostly nocturnal walk nearly captures him, (the vampire’s hands
held eerily to his side is a nice touch to emphasise Schreck’s thin frame) and
in the day-time opens his coffin to see Nosferatu sleeping under shredded
timber. As if that isn’t enough, through an upstairs window he sees the Count
in more oddly funny speeded-up film assembling his coffins and climbing in
ready for shipment. Hutter escapes his room by climbing down knotted bed-sheets,
while raftsmen sail Nosferatu’s coffins to board the good ship Empresa.
ACT III
starts with our hero in hospital raving about coffins as Nosferatu’s vessel
prepares to sail for Wisburg with its monstrous cargo. The crew think nothing
strange about the ship’s manifest itemising multiple caskets of earth for “experimental purposes”, blissfully
unaware that they will shortly be guinea pigs themselves. Back in Wisburg,
Hutter’s friend Professor Bulwer savours the predatory machinations of a Venus
Fly-trap (that ole foreshadowing again), while Knock languishes in an asylum
ward. He has now become Stoker’s Renfield from Dracula, a drooling fly-catching
servant of Nosferatu; not a long trip as Knock, like Jack Nicholson in THE
SHINING, weakens his impact by being gloriously semi-nuts from the start. Ellen
has now read Hutter’s letter and sure enough has connected the details with her
fears of impending doom much faster than he.
Meanwhile,
on board ship, while plague-rats roam Nosferatu has drained all but the Captain
and ship’s mate of blood. By the look of the rampant sideburns on the Captain,
he’s more in danger of lycanthropy than vampirism. Below decks, the mate is greeted
by the infamous much-used shot of Nosferatu suddenly raised up to greet him,
his ramrod-straight posture like an unearthly lever. (This was achieved deceptively
simply by lifting Schreck on a plank but the result is hugely effective) Nosferatu stalks the mate above-decks in a
terrific shot taken from under the hatch but his prey throws himself overboard,
leaving the Captain to lash himself to the wheel. As the vampire’s shadow falls
across him, the intertitle proclaims: “The ship of death had acquired a new captain”.
In Act IV,
by now Ellen, like Knock, shows symptoms of being remote-controlled by
Nosferatu, craving to go to her master. Knock himself reaches up from his cell
to see the vampire ship approaching. This is his cue to overpower his guard and
exit. Nosferatu carries his coffin single-handedly from the ship while Hutter
returns to his beloved. “All’s well now”,
he assures her, proving once again that she is the more prescient partner even
when delirious. Investigation of the derelict ship’s logbook reveals a ten-day
account of its crew’s gradual demise. However, the town elders mistake the contents
for a plague warning and issue a proclamation to minimise the infection spread.
The final
act begins tragically with crosses chalked on the doors of Wisburg’s plague-infected
homes. Hutter warns Ellen not to read his grisly book. True to form, she astutely
ignores him and extracts from it the vital knowledge that a vampire can be
defeated by the sacrificing of blood by “a
maiden wholly without sin”. Only then can he be mesmerised enough to be burned
by the rays of the sun.
In the
climax, Murnau and acclaimed cameraman Fritz Arno Wagner (who also lensed
DESTINY) create even more fabulous shots to showcase Schreck’s ghostly presence,
especially using the power of shadow. Firstly, he is framed at a window, urging
Ellen to open a window and admit him (a nod to received vampire lore). Then
after she leaves herself vulnerable by sending her husband away on a ruse to fetch
the Professor, he mounts the staircase to her, his hunched macabre shadow
spilling up the wall. One of my favourite images in the history of horror
cinema is the beautifully staged creeping of his shadowy arm across her chest
and the stark Expressionist possession of his fist clenching over her heart. It
is erotic, passionate, overwhelming and elegantly tasteful in its symbolism.
Ellen
is so alluring that Nosferatu doesn’t notice the fateful cock-crow heralding
the dawn as presaged by the book. He reaches out to no avail and as the sun
comes up, he vaporises. Such is Schreck’s physical sensitivity as an actor that
we cannot resist a tinge of sympathy for him as he dies, a feeling that all
great monsters of the genre conjure in us. The death of Nosferatu severs his dreadful
bond with Knock who expires; more poignantly Hutter and his friends find it has
also taken the life of Ellen – a touching and heroic ending.
One of the surprises
of re-watching NOSFERATU is the extraordinary impact that Schreck’s title
character has in return for so little screen time. It’s a testament to the
combined talents of he, Murnau and Wagner (in composing his remarkable appearances)
that he’s shown for probably no more than around five minutes in total and yet
his presence is indelible as one of the formative horror icons.
The lush
swirling score is an additional bonus on the Bluray, as much a loving restoration
as the physical print from 2006 in this terrific ‘Masters of Cinema’ release.
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