NOSFERATU ***** U.S.A. / U.K. / Hungary 2024 Dir: Robert Eggers. 132 mins
Robert Eggers has proven himself to be one of the most notable filmmakers of the current generation, and his filmography is likely to be cherished for years to come. The Witch and The Lighthouse both proved to be brilliantly atmospheric and suspenseful horror pictures, while The Northman was a breathtaking historical epic which deserves endless recognition despite its underwhelming financial performance. For his next project, Eggers chose to remake Nosferatu, the 1922 classic which served as a loose adaptation of Bram Stoker’s Dracula before the novel entered the public domain. And rest assured, Eggers has delivered yet another instant classic.
Nicholas Hoult stars as Thomas Hutter, a young real-estate agent from Germany who travels to Transylvania in order to discuss the upcoming purchase of a property with a refined nobleman. The gentleman who happens to be interested in the property is none other than Count Orlok (Bill Skarsgård), a sinister recluse who also happens to be a vampire. As with the original, this new version of Nosferatu follows the story of Dracula relatively closely, so the events of the plot will not seem too surprising. However, Hoult delivered a marvellous performance as Hutter, a somewhat naïve and well-meaning young man who simply wants to do right by his wife and his unborn son, without realising the gravity of the situation he finds himself falling into. Hoult perfectly captured both Hutter’s nativity and his sincere nature in a way which made the character seem relatable and sympathetic, especially when the horrors he encountered started to manifest. While Skarsgård was utterly mesmerizing as Count Orlok, a vile and menacing vampire who exuded a sense of dread whenever he appeared onscreen. Although some depictions of Count Dracula (whom Orlok was originally based upon) try to aim for a suave and charismatic approach, Skarsgård instead plays the role as someone who makes no effort to hide his sinister nature, with the copious amounts of makeup he wore also helping to make the character seem even less human. Due to the thick accent he employed for the role and the heavy prosthetics he wore, Skarsgård’s dialogue was occasionally difficult to understand, but the actor still managed to successfully make viewers feel uncomfortable whenever he appeared onscreen. And his performance will likely be remembered as one of the finest instances of a portrayal of a vampire in cinematic history.
While Hutter contends with Count Orlok in Transylvania, his wife Ellen (Lily-Rose Depp) suffers from visions which may be more than just nightmares. Left in the care of Friedrich Harding (Aaron Taylor-Johnson) and his wife, Anna (Emma Corrin), Ellen’s visions soon begin to manifest to a point where it becomes unclear if she is losing a grip on her sanity. While he clearly wishes to have her committed, Harding gradually seeks out the services of an eccentric doctor known as Albin Eberhart Von Franz, who offers to help Ellen through various unorthodox methods. Depp will likely receive award nominations for her stunning performance as a woman who clearly views the world in an entirely different way while also struggling to conform to regular society, making Ellen into a notably eccentric young woman who is clearly shunned by those around her. The talented Depp also had exceptional chemistry with Skarsgård, and the scenes where Orlok appeared to Ellen through dreams were exquisitely haunting. And Taylor-Johnson was also memorable as the inpatient Harding, who initially tries to be understanding but quickly loses his patience with Ellen. While the character seems arrogant and spiteful at times, the tragedies he later suffers helped to make him more sympathetic to viewers, especially when his sanity starts to wane as a result of his turmoil.
And Willem Dafoe also appears as the eccentric Professor Albin Eberhart Von Franz, and the Oscar-nominated actor clearly has a great deal of fun with the role. Von Franz is clearly an outlandish figure who enjoys showcasing his peculiarities to others, and Daffoe’s uniquely unconventional style of acting suited the character perfectly. However, it was unfortunate that Von Franz did not have any scenes with Orlok, because it would have been fascinating to watch the strange pair interacting with each other.
Nosferatu was also beautiful to behold, with the sweeping landscapes and lavish set design making the film into a real treat for the eyes. From sweeping shots of Hutter walking across the frozen Transylvania landscapes to the brilliantly draconian interior design of Count Orlok’s castle, this is a film which is simply a visual marvel. And several scenes were shot in black-and-white in order to pay homage to the original while also reminding us of the beauty of retro cinema in a uniquely curious kind of way. The large production values also allowed for a number of thrilling set pieces, including a scene where Hutter attempts to escape from Orlok’s castle by scaling to towering exterior walls, and another where a burial tomb was set alight so that it could be purged of Orlok’s foul influence. At the same time, the gothic design of the 19th century buildings on display helped to give Nosferatu an almost dream-like quality, as it really did seem like we were witnessing a twisted fairy tale coming to life.
However, the level of violence in the film was surprisingly minimal, which will no doubt disappoint horror fans. Aside from a few instances of brief throat rippings and chest stakings, the amount of blood and gore on display was absolutely kept to a minimum, and so there was nothing near as spectacular as the beheadings which Eggers gleefully showcases in The Northman. Since Nosferatu is an R-rated film, one has to wonder why the high age-rating was not embraced to the fullest extent possible.
But despite the relative lack of bloodshed, Nosferatu still proved to be one of the best vampire films of the year. With its dedicated performances, stunning scenery, and unyielding direction from Eggers, this is certainly a vampire tale which helped to breathe new life into the struggling subgenre of gothic horror. This is one of the few remakes which definitely stands alongside the original in terms of quality, making it a worthy counterpart to the 1922 film which helped to shape the general public’s perception of the horror genre for over a century.
Review by David Gelmini