In Wisborg, Germany 1838, young estate agent Thomas Hutter (Nicholas Hoult) is thrilled to receive a promotion. Recently married to his beloved Ellen (Lily-Rose Depp), he hopes to better provide for their new life together. Years earlier, Ellen was haunted by nocturnal visions and carnal desires which have recently returned. A creeping melancholy and fear grow that, “He is coming”.
Thomas leaves Ellen in the company (and care) of his good friend Friedrich (Aaron Taylor-Johnson), his wife Anna (Emma Corrin) and their two young daughters. Thomas is sent to the mountains of Transylvania to do business with one Count Orlok (Bill Skarsgård). A peculiar, decrepit nobleman who seeks to purchase a new home nearby to the Hutters. Refusing to heed the locals warnings, Thomas proceeds with his charge, signing a mysterious contract. Unknowingly, he binds himself and Ellen to Orlok forever. He is coming.
Back home, Ellen‘s nightly torments become more and more extreme. As she is thrust into bizarre trances, Frederick seeks the aide of professionals in how to help the poor wretch. He is connected with Professor Albin Eberhart von Franz (Willem Dafoe), a man of learning who feels the pursuit of science has closed our minds to horrible truths. He is certain that Ellen is afflicted with a curse, something linking her to a powerful evil known as ‘Nosferatu the Vampyre’. He is coming… and he is bringing his deadly plague to Wisborg!
The history of Nosferatu is an interesting one. The 1922 F.W Murnau silent horror was the first film inspired by Bram Stoker’s Dracula but was actually an unofficial adaptation. Changed in ways to avoid a lawsuit and be seen as an original film, it didn’t quite succeed. Stoker’s widow attempted to have all prints destroyed for copyright reasons and very nearly succeeded. Many restorations, the public domain and a full 100 years of retrospect later have led many to greatly appreciate Murnau’s near lost masterpiece.
Not only is Nosferatu an important part of film history, but in its own unique way is as influential to the ‘vampire’ mythos as Stoker’s work was. For instance, the entire basic concept of sunlight being fatal to vampires comes directly from that film’s view of them as “living darkness”. What else kills a shadow but sunlight itself?
Visionary filmmaker Robert Eggers has had an affinity for Nosferatu beginning long ago as well. All the way back in high school, he co-directed a stage production of the story. It was also meant to be his sophomore feature after the success of The Witch (2015). It’s taken a few more years and a few extra films than expected but now Eggers, after finely tuning his craft, is ready for his take on German expressionism!
Eggers‘ style is perfect for taking on Nosferatu. The original feature was built around metaphors and symbolism, whereas Eggers has in his own point of view, inspired by this method his entire career. Here, his visual style (with help from his regular cinematographer Jarin Blaschke) portrays a dark and gothic tale which bridges a century of filmmaking conventions. Some scenes are in colour and feel modern, while in comparison other scenes look like a movie made in a very different black and white age, much like Eggers‘ The Lighthouse (2019).
Costume design by another of Eggers‘ regulars, Linda Muir brings to life the world of the past. It is dark, depressing and destitute, dealing with the common rabble but also lavish and pompous when we switch to the upper crust. The cast make Eggers‘ period authentic dialogue shine with the film’s various characters blown away by this monstrous curse. Although honestly, it does feel more Victorian with only the occasional title of “Herr” or “Frau” reminding us that this film is supposed to be set in Germany!
While Dafoe plays another eccentric character, it’s a joy to watch Lily-Rose Depp as the real star of the film. With protagonist status as the film’s beginning with a selection of men and women attempting to protect her, Ellen takes charge of her own destiny. Much of Nosferatu addresses societal struggles, Ellen’s repressed sexuality and resulting shame, but in an indirect way.
As the beast is Pennywise the Clown famed, Bill Skarsgård who is unrecognisable (once more) under 6 hours of prosthetics and grotesqueness. His portrayal of Orlok is different to the ghoulish others we’ve seen. Less of a ghoul like creature and more of a Transylvanian nobleman urban legend. A cross between the fiendish sexuality of Rasputin and the laboured existence of General Grievous (yes, from Star Wars). It really is a terrifying sight and another way that Eggers is not afraid to take this film’s concept and deliver it in his own way.
Part passion project, part homage to one of cinema’s greatest villains, and all reinterpretation. Robert Eggers maintains the symbolism of Nosferatu (1922) with Orlok being a literal shadow creature with lust in its cold heart. But without fear of early 1900s sentimentality, Eggers crafts a film that’s bloodier and more explicit than even what we’ve seen in other remakes. It is another triumph for the acclaimed director, as a master of all things horrific.
Nosferatu (2024) is sure to please those already devoted slaves to the character’s tales, while great also for modern movie goers looking for gory entertainment.
Nosferatu is in cinemas January 1.