This is an absolute classic and up there for one of the best vampire movies ever. Picturesque cinematography with unique camera-shots, and a forlornly dreamy orchestral music score set the tone. Get the freshest reviews, news, and more delivered right to your inbox! |, November 24, 2011 Her skin always seems unusually white and smooth, as is porcelain. If that isn't enough to convince Jonathan that his newest customer is a bloodsucking devil, then I haven't a single idea what is. 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. Nosferatu is still the best horror film ever made. He is not quite up to the vastly contrasting interpretations I have seen - Schreck and Lugosi. User Ratings A real-estate agent, Jonathan Harker (Bruno Ganz), is sent from his native land of Wismar, Germany to the obscure and mountainous regions of Transylvania.
It was partly in homage. Herzog is one of the finest directors who ever lived and he creates a film that holds a candle to Murnau's brilliance.
Finally Dracula's coach comes out to fetch him.
The imagery and settings are absolutely gorgeous and atmospheric. Peaks tower in intimidation. |
There are characters who are walking demonstrations of pestilence.
Sign up here. This has that distinct Herzog feel to it and I don't believe there was a better director to remake F.W.
One of the single most pleasurable experiences I've encountered watching a film.
The story is there, but it's the little details that sets this canvas in motion. **** out of **** Werner Herzog's eerie color remake of F.W.
In the case of Werner Herzog - that daring ground-breaker of a filmmaker - F.W.
There isn't a lot of green, and it looks wet. Most of the time, the story is familiar (given that some stuff differentiates; but not too much), but Herzog laces it with enough spectacle and atmosphere to make up for any form of déjà vu.
Like Coppola’s madly extravagant 1992 version, Herzog’s is a Dracula for those who know the story, and all its other retellings — a Dracula rehearsed across time, awakening yet again from slumber. He also provides a more emotionally resonant vampire than that of the original "Nosferatu". Nosferatu the Vampyre 1979. Consequently, the film is full of long sequences with no dialog and minimal sound. In Wismar, Germany, Lucy (Isabelle Adjani) and the real state agent Jonathan Harker (Bruno Ganz) is a happily married couple. He is loving, then resolute, then uncertain, then fearful, then desperate, and finally mad -- lost. All rights reserved. Review by Ty Landis.
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.
I was so mesmerized by Kinski's performance(..and, especially how Herzog shoots him appearing from the dark..and the way Herzog lights his shadows against walls is just magnificent! There are piano players and then are there concert pianists? Just leave us a message here and we will work on getting you verified. 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). Don't have an account?
The Movie: Werner Herzog's remake of F.W. Herzog takes his time building up anticipation before Dracula's entrance. More an homage than a remake, Nosferatu the Vampyre keeps the spirit of the original while simultaneously feeling decidedly Herzog-esque in the best kind of way. The scenes are beautifully executed, and the color schemes are magnificent. One change in this than other versions is that Lucy is the one who motivates the destruction of Dracula, not Van Helsing.
Popol Vuh's musical textures are dreamily beguiling, setting just the right tone for Herzog's imagery. Mountains look craggy, gray, sharp-edged.
(Only those scenes featuring dialogue were lensed twice.) This is Werner Herzog's adaptation of F.W. It is his homage to the 1922 FW Murnau movie, conceived and executed with passionate connoisseurship; Herzog develops the first film, making the final sexualised sacrifice more explicit, keeping some original locations and images, and approximating the operatic visual language of Murnau with a new kind of primitivism: strange tableaux, eerie wordless scenes, and juxtaposed, grainy images of bats that directly reference silent moviemaking. There is the sad, defeated, Count who, as we all know, is not happy with his condition, but is programmed to steep himself in blood. This is Herzog's journey to the heart of darkness, a film that specifically echoes his earlier offerings The Enigma of Kaspar Hauser and his South American odyssey Aguirre, Wrath of God. Even compared with the famous make-up of Max Schreck, in FW Murnau’s 1922 version of Dracula, the Kinski look is extreme: he’s bone-white, with a high, bald pate, cavernous eyes, disgustingly red lips, and two lone fangs protruding, not where you’d usually find canines, but where incisors live.
The percentage of users who rated this 3.5 stars or higher. Watched Oct 21, 2020. The agony behind each breath he takes. Regal The street sequences as the plague has ended almost an entire civilization with pigs and lambs walking around as rats join together in massive armies in corners and traveling in packs. The image of the ship containing Count Dracula yet again coming into contact with land and bringing death-by-plague - not to mention an entire rat infestation - to wherever it may anchor.
It would be inadequate to call it "saturated." [Full Review in Spanish]. |, May 5, 2019
Even the film's opening shots carry more meaning than just a creepy set-piece.
Nosferatu the Vampyre was filmed in both an English and a German-speaking version; the latter runs 11 minutes longer. Ty Landis’s review published on Letterboxd: You: An atmospheric play of shadow and light.
It's a curious mix: at times deliriously hammy, at others melancholy, contemplative and oddly beautiful. Klaus Kinski is perfect as Count Dracula. Dracula, like it or not, is a cornerstone of Western society. He fills it with an army of rats, and sets his sights on claiming Jonathan’s bride — not Mina, as per Stoker’s novel, or Murnau’s Ellen, but the already-cadaverous-looking Lucy (Isabelle Adjani), whose premonitions of this deadly union give the film a yet-more-mythic undertow.
This 10-digit number is your confirmation number. And when the boat enters the harbor of Wismar; Herzog is at his prime. The head is shaved.
The simplicity of a shadow was made so mesmerizing.
But if they were real, here is how they must look. What artistic brilliance upon Werner Herzog's behalf, but Klaus Kiniski and Isabelle Adjani stamp their lasting marks as well. To watch F.W. Clouds fall low and drift like water. Kiniski sensationally emit's a sullen, heart-felt turn where he's shadowy exterior creeps up upon you and causes goose bumps.
This is Herzog's journey to the heart of darkness, a film that specifically echoes his earlier offerings The Enigma of Kaspar Hauser and his South American odyssey Aguirre, Wrath of God. The image is an example of a ticket confirmation email that AMC sent you when you purchased your ticket.
Just confirm how you got your ticket. I could go on and on because this is not just a film, but an experience.
I am fascinated by the vampire legend. His beliefs will be put to the test when the classic clichés and tropes of vampirism will come alive when he observes the Count's behavior and actions from a distance.
A rain forest forty miles away from a city would have felt wrong. As I'm sure it is the case for many cinema fans, my respect and admiration towards this production widely excels the enjoyment I had while watching it. Never have I been so caught up, amazed and blown away from such profound positioning, poetically creative imagery and mesmerizing performances. 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. The man, Herzog, knows how it's supposed to be done. | Rating: 5/5 Nosferatu The Vampyre is my favorite of the Dracula adaptations I've seen thus far in my life. I think it was partly because of love -- for Murnau, and for the film, which suits the macabre strain in some of his own work. Herzog brings out the weight of human despair. Herzog's use of music and how he photographs every single shot just stunned me to silence as I looked on in wonder and amazement. A quite dry Bruno Gaz does well, and an unforgettable Roland Topor as Dracula's loyal servant totally cackles like an on edge hyena.
Your Ticket Confirmation # is located under the header in your email that reads "Your Ticket Reservation Details". In the same spirit, I suppose, Kinski standing where Murnau's actor Max Schreck stood would generate an energy.
Such as the scenes in Dracula's Transylvania castle in the Carpathian Mountains.
I was astounded at how much Herzog could evoke while relying solely on the grandness of his visuals.
The lighting was amazing for the first true horror film ever produced. First published on Thu 31 Oct 2013 18.00 EDT.
Also included: "Aguirre, the Wrath of God," "Fitzcarraldo," "Heart of Glass," "The Enigma of Kaspar Hauser," and "Stroszek.". Essentially, the narrative doesn't deviate drastically until the second half after Count Dracula bids the ruins of his castle farewell and travels by ship to Varna. There is the actual plague.
Murnau's silent classic Nosferatu. Here she provides a pure object for Dracula's fangs.