Miles Messervy 007
Posts: 6870
Joined: 11/2/2009
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Nosferatu: Phantom der Nacht [Nosferatu the Vampyre] (1979, Herzog) A far cry from Murnau’s version, and it’s a trade-off. Comparisons are inevitable, so spoilers for both films ahead. I watched the original early this year, the day before an important exam which I miraculously got an A in, so I definitely didn’t give it my full attention, and found it pretty boring. The positives I listed were the awesome tinting, Schreck’s unrivalled creepiness, and the archaic feel of the whole thing which actually made me believe this could have been made in 1840s if they had film then. Herzog’s remake loses all of these, but I preferred it (though it certainly made me want to re-visit the Murnau). It replaces the silent creepiness with an awesome atmospheric score, the tinting with gorgeous cinematography, and brings out the existential tones of the source material more clearly and elegantly. Kinski doesn’t live up to Schreck, largely because he has to talk. Once again, this is a trade-off: in becoming a much more developed character, Dracula (or Orlok, whichever you prefer) ceases being the brilliant image of absolute evil. The supporting acting is a total step-up though: Adjani is beautiful and as always a bit mad (or viewed as such), and Ganz to my knowledge has never been bad in a film, that voice of his alone carrying a lot of this forward. Herzog’s version is longer, but feels shorter, because silent movies tend to feel slower paced even when they aren’t to me, I guess (just a question of adjustment). Unfortunately, it still drags a little in the middle. Herzog adds quite a bit of stuff, including the brilliant plague table, but I thought the way Murnau’s film just implied what happened to Lucy was much better than the sequel’s overt treatment of it. The very ending though is batshit crazy and utterly amazing. I know I’ve already mentioned this, but the visuals are just gorgeous beyond belief, though I’m not going to unload a screenshot barrage. The landscapes and the interiors, the light and the darkness, everything is there. As a horror film, Phantom der Nacht may actually work less well than the more simple Symphonie des Grauens. (There is one moment which I absolutely loved though – Dracula’s first visit of Lucy.) It is, however, wholly deserving of its acclaim. At its best it’s an intangible, existential piece of celluloid brilliance, and at its worst it’s still not bad at all. PS. With all the changes mentioned, it’s a bit weird that Herzog claimed the original was the best German film ever, if I was a director, I wouldn’t dare to change that much about a film I believed to be that brilliant. But then again, I’m not a director...
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quote:
jamesbondguy: Miles is clearly the finest film theorist of his generation quote:
Deviation: if it isn't ham, I'll eat a living pig.
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