Nosferatu the Vampyre (1979)

If anybody ever founds a Vampire Museum (and who knows, somebody somewhere probably already has), it would be unjust to devote anything less than a wing to Werner Herzog's "Nosferatu," one of the most stunningly beautiful 'horror' films I've ever seen. While I place 'horror' in quotes, it is not because of a default urge to pigeonhole something into a genre to which it barely qualifies--no, it's because "Nosferatu" is like watching an exquisite painting magically put in motion. There is fear and eerie atmosphere aplenty (much of which is provided by a recurring classical music cue), mixed with a rat fixation that becomes oddly symbolic. Unlike F.W. Murnau's 1922 version, this 1979 remake is as much about the existential despair of the undead condition rather than simply the plight of a blood-sucking vampire; while many scenes are recreated shot-for-shot, Herzog is no plagiarist, and actually improves on many of the technical shortcomings that hindered Murnau's film decades before ('night' no longer looks like mid-day, for instance). The film's supernatural love triangle remains intact, and again hinges on Lucy Harker (Isabelle Adjani), who steals the movie from the none-too-modest talents of Klaus Kinski (Count Dracula) and Bruno Ganz (Jonathan Harker). While some may find it slow and ponderous, this "Nosferatu" is one of the best vampire films ever made (besting even Murnau's version), a moody character piece with visual ingenuity to spare.

Fmovies: This Herzog adaptation of the Dracula story, filtered through the memory in particular of Murnau's "Nosferatu: A Symphony of Horrors", is largely a successful film. It is great in parts and in aspects, but doesn't quite amount to a whole that approaches superlative status. Klaus Kinski is rather good, but not quite spellbinding, in the much-donned cape of the old Count. He is not quite up to the vastly contrasting interpretations I have seen - Schreck and Lugosi. Isabelle Adjani? Hers is far from a terrible performance, as one commentator has said; she is, indeed, reasonable in a role often lacking embellishment in other adaptations. Of course, her striking good looks are certainly far from unwelcome. The chap playing Renfield (the madman, so amusingly and vividly portrayed by Dwight Frye in the 1931 Universal "Dracula") is effective in portraying an outright giggling madman - his laugh is one of *the* most absurd and insane sounds I have heard in film...! The use of music is wonderful, as is Herzog's visual direction - the plague scenes leave quite an impression on the mind, and most scenes are accorded impressive backdrops and appropriate visual textures. Popol Vuh's musical textures are dreamily beguiling, setting just the right tone for Herzog's imagery. The film's downside has to be in the dramatics really; the dialogue and subsequent delivery of, are far from great, perhaps owing to the fact that most of the performers' native tongues are not English, and here they have to speak just that language. There is never quite enough dramatic tension induced by the script or the acting; at times the Renfield chap and Kinski are compelling, but only fitfully.

Having said all this, it is a fine rendition on film of a rather old and, frankly, enduring story. Herzog must take the credit for its effective atmosphere, but perhaps also the blame for the lacking dramatics. Certainly an enjoyable, generally impressive film.

Rating:- ****/*****

Herzog deserves hats off, any academy award for best director. A film so beautiful should be more well known. The atmosphere is stuck with you from the beginning with the chants and the screams. The characters fit the film perfectly, besides the librarian guy. The colors were great, the shots were planned out great. The simplicity of a shadow was made so mesmerizing. I felt chills all around my body after watching this film. It had a touch with all those shadows and the shot with the vampires hand going down. Not only the best vampire movie EVER but a fantastic film, period. All I can say is Herzog did a wonderful job with this one.

Nosferatu the Vampyre fmovies. What artistic brilliance upon Werner Herzog's behalf, but Klaus Kiniski and Isabelle Adjani stamp their lasting marks as well. Never have I been so caught up, amazed and blown away from such profound positioning, poetically creative imagery and mesmerizing performances. I found it incredibly hard to take my eyes off the screen, even though the story has been done to death. Each vividly lush and fairy-tale engraved set piece is set-up, and I hungrily waited to analyse and soak-up this magnificent art form of symbolic and superstitious embellishment. Atmospheric, old fashion chills of the subtle, but still blood-curdling kind fill Herzog's stunningly protracted direction. The story is there, but it's the little details that sets this canvas in motion. The gloomy tone of the film is powerfully brooding from the air of growing despair, loneliness to the smothering stench of dark, lingering death. Kiniski sensationally emit's a sullen, heart-felt turn where he's shadowy exterior creeps up upon you and causes goose bumps. His make-up and body movement is simply trance-like, and stares you down. He's a scavenger, which goes after what he wants and not under any sort seductive appeal. A soulful Adjani is awe-inspiring, and gracefully evokes a versatile performance that also demands your attention. A quite dry Bruno Gaz does well, and an unforgettable Roland Topor as Dracula's loyal servant totally cackles like an on edge hyena. Picturesque cinematography with unique camera-shots, and a forlornly dreamy orchestral music score set the tone. I pretty much agree with others when they say it's a hard one to put into clear and concise words. Just see it.

It was only recently that I finally got to experience a Werner Herzog film. And I say experience because you don't just watch a Werner Herzog film, you experience it. Otherwordly images will appear on the screen whisking you away to strange unusual worlds. When I first saw Fitzcarraldo and Aguirre: The Wrath of God I was spellbound. I was astounded at how much Herzog could evoke while relying solely on the grandness of his visuals. So when I decided to finally see Werner Herzogs remake of F.W. Murnaus classic silent film Nosferatu, I knew I was in for something special. And I was. Simply put, this is one of the finest vampire movies ever made.

The story is one every horror fan is familiar with. Count Dracula is interested in purchasing a new home in England, so Jonathan Harker a real estate agent is sent to Draculas castle high in the Carpathian mountains to sign the legal documents that will seal the deal. Of course what Harker isn't ready for is the fact that Count Dracula is actually a vampire, a man who sold his soul to Satan and now walks the earth as an undead bloodsucker. Dracula falls for Harkers girl and tries to take her from him, you know the drill.

From the small synopsis I typed on that last paragraph you think, yeah, seen one Dracula you seen em all. Right? Wrong! Though this movie does have the same plot line that we have seen hundreds of times in different vampire films, this one certainly has something that makes it different. First and foremost, this film was directed by Werner Herzog and it isn't going to be your regular ordinary vampire movie. There's a certain visual splendor that goes with all of Herzogs films and its evidently present in this film.

What I admire most about Herzog is that he doesn't rely on special effects to make his movies visually interesting. The guy goes to a mountain deep in the middle of nowhere, he looks for the most beautiful and exotic location possible and then shoots his film there. He did it in Aguirre and Fitzcarraldo and he did it again here. Herzogs special effects depend on nature itself. When Jonathan Harker embarks on his journey towards Draculas castle you'll be swept away on a journey that takes you to misty mountains and forceful rivers. So be ready for a film that takes you to some of the most beautiful and exotic places on this earth.

This really isn't a full remake of Murnaus film because what this film really does is mix both Murnaus film and Bram Stokers novel. Instead of Count Orlock we get Dracula. So its sort of a mix of both sources.

Then of course we have the second strongest point in many of Herzogs films. Actor Klaus Kinsky. This guy completely devours the Dracula character and brings him to life in a way that no other actor has ever done. This Dracula isn't a sexy, well dressed lady killer. This guy is animalistic in nature, a creature hunting for his pray, a tortured soul yes, almost disgusted at who he is but at the same time accepting it fully. So much is conveyed through Kinskys performance, his eyes, his hands and pointy nails, and his whispering voice. A very creepy Dracula if you ask me.

A thing that makes this film standout as well is its realism. There's not a single special effect on this movie save for Klaus Kinskys Dracula make up. Everything else is as real as it gets. Draculas castle isn't a miniature or computer generated image, its a real castle. Its not even a set! Its a real freaking castle! When Dracula sucks blood he doesn't go into a bloodbath d

In Wismar, Germany, Lucy (Isabelle Adjani) and the real state agent Jonathan Harker (Bruno Ganz) is a happily married couple. Jonathan's boss Renfield (Roland Topor) sends him to Transylvania to sell an old house in Wismar to Count Dracula (Klaus Kinski). Jonathan is advised by the locals of a village to return since the count is a vampire, but he does not give up of his intent.

Jonathan visits Count Dracula and when he sees the photograph of Lucy, he immediately buys the real estate. He drinks the blood of Jonathan and navigates to Wismar, carrying coffins with the soil of his land, rats and plague in the ship. Along the voyage, Count Dracula kills the crew-members and a ghost vessel arrives in Wismar. Meanwhile Jonathan rides to his homeland to save Lucy from the vampire.

"Nosferatu: Phantom der Nacht" is a wonderful and atmospheric remake of F. W. Murnau's classic film based on Bram Stoker's novel (but uncredited). Herzog has also changed the ending of the novel and uses wonderful cinematography supported by magnificent performances in his version. Klaus Kinski is one of the scariest Dracula of cinema history. My vote is eight.

Title (Brazil): "Nosferatu - O Vampiro da Noite" ("Nosferatu – The Vampire of the Night")