Nosferatu, la sinfonia del horror
Nosferatu, eine Symphonie des Grauens
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Sinopsis(1)
Año 1838. En la ciudad de Wisborg viven felices el joven Hutter y su mujer Ellen, hasta que el oscuro agente inmobiliario Knock decide enviar a Hutter a Transilvania para cerrar un negocio con el conde Orlok. Se trata de la venta de una finca de Wisborg, que linda con la casa de Hutter. Durante el largo viaje, Hutter pernocta en una posada, donde ojea un viejo tratado sobre vampiros que encuentra en su habitación. Una vez en el castillo, es recibido por el siniestro conde. Al día siguiente, Hutter amanece con dos pequeñas marcas en el cuello, que interpreta como picaduras de mosquito. Una vez firmado el contrato, descubre que el conde es, en realidad, un vampiro. Al verle partir hacia su nuevo hogar, Hutter teme por Ellen. (Divisa Home Video)
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The film indeed exudes ideas, but unfortunately Nosferatu is evidence that some movies will only remain for future generations as a depiction of "how things were made back then". I can't take Murnau's creation seriously in any way and I can't imagine myself ever watching it again, even though I fully appreciate its historical role.
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Nosferatu does not inspire fear, but after almost ninety years, it does command a great deal of respect. It's like when a modern car enthusiast visits a museum and admires an ancient car from the early 1920s. It may be boxy, have poor performance, and lack comfort, but it exudes the romanticism of the early days of automobile manufacturing. Similarly, in Friedrich Wilhelm Murnau's film, we get to see the pioneering era of filmmaking, when things were done with great enthusiasm and inventiveness. When watching the film in the movie theater, I was surprised by how much Murnau copied Stoker's famous novel. It's no wonder that the widow of the famous writer sued the filmmaker and the film ended up in a dusty archive thanks to her. The accompanying music also surprised me, as it was strongly dissonant and truly unsettling. I was honestly expecting something more classical. Overall impression: 80%.
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Horror is not induced by scary scenes, but by incredibly built atmosphere and above all unique shots and scenes. Basically, all scenes in which Orlok appears, whether as a coachman, a master of the house, or a vampire, are absolutely unforgettable. The shadows that Orlok casts are among the most haunting ones known in horror film history.
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A love of black-and-white images that whisper their bizarre messages and prophecy into the quiet. The twisted world of the maniac Caligari and the creeping threat of the vampire Nosferatu. Undoubtedly the most suggestive treatment of the Dracula myth – precisely because evil cannot speak, precisely because it has only two colors. Nosferatu aka Orlock aka the mysterious Max Schreck is not only a cinematic creature, he is the perfect embodiment of evil and destruction, death, a hunch of the future destruction of the German nation. This film doesn't have weak moments. It doesn't scare intensely, but it's one long case of filmmaking enjoyment that doesn't need expensive effects to captivate the viewer with its emotionality and atmosphere. This is film in its raw form. This, ladies and gentlemen, is a film.
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First of all, I have to say that seeing Nosferatu the Vampire at the Scala in Brno with the absolutely amazing musical accompaniment of Ensemble Marijan was a great experience, and I envy the people of Brno that the student project kinẽma musica was created there and that it is thriving. As far as the film is concerned, sure, it's a rather entertaining film from today's perspective, especially when it comes to the acting of Gustav Von Wangenheim, for example, but it does have moments where all the fun goes by the wayside. For example, Orlok's murder of the ship's crew is an exemplary horror, and the ending with the shadow groping for the door and then for the heart of the beautiful Ellen.
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