By Jack Ransom - December 16, 2024
“He is coming!”
The highly anticipated adaptation of the 1922 German silent film of the same name. Nosferatu tells a gothic tale of obsession between a haunted young woman (Lily-Rose Depp) and the terrifying vampire (Bill Skarsgård) infatuated with her, causing untold horror in its wake.
The idea of Robert Eggers taking on F.W. Murnau’s iconic version of the tale of Dracula was something I was ecstatic about upon its first announcement. His folk horror debut, The Witch is certainly due a rewatch, however both The Lighthouse & The Northman were towards the top of the pile of my favourites of their respective release years. This may just be my favourite of his filmography so far. Boasting a gloriously gothic, grotesque and utterly enrapturing atmosphere, thunderously unnerving sound design and cracking performances, this adaptation serves as one of the year’s best.
Being familiar with the tale of the Max Schreck’s Count, I was intrigued to see how Eggers would expand upon the tale with filmmaking attributes that simply weren’t available in the 1920’s (I do have yet to see Werner Herzog’s late 70’s remake). Opening with a jolt of pure gothic hypnotic nightmare fuel and a pulverising jump scare. It’s immediately apparent that Eggers has the fangs in deep. Thomas (Nicholas Hoult) journeys to Transylvania (this sequence brought chills to my spine, truly phenomenal imagery) and encounters the shrouded, grumbling, hair-raising Count Orlok, of whom is eagerly awaiting his journey to Germany, and takes an obsessive shine to Thomas’ bride.
Eggers is certainly faithful to the source material, yet with the longer duration, also delves further into Ellen’s (Depp) psychological war with the Count, of which ranges from blood curdling possessions, bursts of lust and prickly threatening exchanges within dreams.
The balance between the direct adaptation and exploration of the occult and further world-building (a particularly unnerving encounter with cackling Transylvanian locals and the rampant merciless nature of the plague) is well trod and will please both fans of the original and new flesh alike.
I implore everyone to see this on the big screen. It is a morbidly gorgeous affair, dripping in inky shadows, glassy black waters, snow drenched rooftops. From the monolithic Castle Orlok to the fleetings of welcome warmth of the Harding homestead, harsh coldness of the Hutter’s interiors. The 1:85:1 aspect ratio adds palpable claustrophobia to the proceedings, the tight-close ups, bursts of unbridled pulpy Hammer savagery, authentic sets and perfect cinematography is showcased stunningly. The score looms over the feature, pouring over the frames like Orlok’s shadow. Creeping and thundering orchestral and classical chimes make for another level of immersion.
The cast ensemble is very impressive. Bill Skarsgård is virtually unrecognisable. Very much lingering in the corner of the frame or shot from disturbed angles and layered in shadows at first, before more of his ancient frame is revealed. The voice Skarsgård produces is an otherworldly growling rumble that will shake you to the core. Nicholas Hoult and Aaron
Taylor Johnson both bring their simultaneous leading man charm, aggressive paranoia and manic sadness. Lilly-Rose Depp does a fierce job of capturing the hypnotic, erotic and horrific ordeal that Orlok unleashes upon her. Her innocence breaks through the tears and her physical commitment (drooling, gnashing, thrashing and screeching) is bar none. Lastly, Eggers regulars Willem Dafoe and Ralph Ineson excel in their supporting roles.
Nosferatu is a near perfect gothic horror triumph. The brilliant cast, gory imagery, piercing scares, phenomenal cinematography and instantaneously engrossing world had me fully succumb to the darkness. A smattering of pacing issues aside and an unavoidably familiar narrative keep this from a full score, but it is damn close.
Nosferatu releases in UK cinemas January 1, 2025
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