Hollywood has long embraced the success of reimagining classic films and breathing new life into stories that have defined entire generations. The ability to modernize these films through advanced technology, diverse casting, and contemporary themes allows filmmakers to reimagine timeless narratives for both longtime fans and new audiences. The latest addition to this trend is “Nosferatu,” a reimagining of F.W. Murnau’s 1922 silent horror masterpiece, “Nosferatu: A Symphony of Horror.”
The film, directed by Robert Eggers, is set against the gothic backdrop of 19th-century Transylvania and centers on Thomas Hutter (Nicholas Hoult), an estate agent who helps a vampire named Count Orlok (Bill Skarsgard) buy an estate. As a mysterious plague ravages the town, Count Orlok (also known as Nostferatu), a frightful and enigmatic figure, emerges from his castle and haunts Ellen (Lily-Rose Depp), Thomas’s wife, due to his infatuation with her, where he says that she must voluntarily submit herself to him.
The film excels at addressing modern themes of love, loss and fear of the unknown. For example, when Count Orlok tries to entangle Ellen, she, Thomas and his companions race against time, and the couple’s love is put to the test when it is revealed that Nosferatu is death incarnate. The sinister undertones and imagery heavily contribute to the movie’s mood, atmosphere, and gothic setting. For instance, the fact that Thomas’ shadow is always peering over the wall during their meeting with Orlok creates a haunting, enigmatic atmosphere and represents a sinister deity watching over the characters’ destiny and the events that transpire around them. The characters’ struggles against both internal and external forces are further attempted to be conveyed through the lurking threat of Nosferatu and the plague.
The portrayal of the film’s antagonist, Count Orlok, is one of its best features. The most admirable aspect of his overall design is how it portrays Bill Skarsgard as a hideous and powerful figure who interrupts the main protagonists’ unwavering love. In general, I find his appearance pretty unnerving to look at, which is enhanced by the eerie ambiance of dimly lit spaces and corners. Count Orlok is portrayed as death itself, a personification of dread and a loss of humanity all in the form of a vampire, yet avoids the typical vampiric appearance made to look desirable.
With his inhuman ability, bloodlust, and — most importantly — his weakness to sunlight can cause him to turn to ash, all characteristics of the classic vampiric antagonist, someone as intimidating as him undoubtedly makes the cut. His infatuation with Ellen comes at the expense of sacrifice and loss. It is a double-edged sword, though, because while his appearance made him an incredibly frightening villain and the story’s ambiguity for his actions are occasionally captivating, they come at the expense of the film’s pacing, which feels jumbled at times, and his curse doesn’t correspond with the outbreak of the plague.
Although his appearance was successful in portraying him as very unsettling, the narrative’s justification for his conduct was unclear and confusing. His motivations — or lack thereof — compromise the film’s tempo, despite the fact that his character is compelling.
Additionally, considering that it takes place in the 1800s, the dialogue seems irregular, inaccurate and frequently awkward. Accents derived from the 19th century usually differed by region, where English speech was more detailed and conspicuous. Its intricate structure was lost in the film, which made it appear more flimsy and superficial.
When all is said and done, Nosferatu is a triumphant revival that demonstrates how timeless reimaginings can provoke deeper reflections on fear, love, and humanity. The Eggers greatest exemplifies the humanity that the characters keep throughout the story. Even hopelessness might loom as large.
