Nosferatu (2024) Review

Ever since F.W. Murnau sank his teeth into cinematic history with 1922’s ‘Nosferatu: A Symphony of Horror,’ the world has been obsessed with the vampire movie. His film, an adaptation of Bram Stoker’s ‘Dracula,’ established most of stylistic and narrative tropes synonymous with the genre. A major hit, it was followed by numerous other bloody good vampire flicks over the years. From Tod Browning’s 1932 ‘Dracula,’ to Werner Herzog’s elegiac 1979 ‘Nosferatu, Phantom der Nacht’ and E. Elias Merhige’s darkly comic ‘Shadow of the Vampire,’ there have been many memorable big-screen vampiric tales.

With 2024’s ‘Nosferatu,’ Robert Eggers seeks to add a new chapter to this storied history of bloodsucking blockbusters. A remake of Murnau’s original (and, by extension, Herzog’s adaptation), Eggers originally began developing it in 2015, intending it as his second feature. However, like a vampire dodging sunlight, he eventually opted to postpone the project, going on to direct ‘The Lighthouse’ and ‘The Northman’ instead. Finally, in early 2023, filming began, and the finished product was released in December, 2024.

The end result is a visually striking, moody piece, roughly following the same plot as Murnau’s film. It centres on Ellen Hutter, a young woman suffering from ‘melancholia’. Her husband Thomas, a lawyer, is sent to the Carpathian Mountains to oversee the sale of a decrepit manor belonging to the reclusive, mysterious Count Orlok, leaving Ellen back in their hometown of Wisborg. Soon, it transpires that there is much more to the Count than meets the eye, and that Ellen may play a crucial role in stopping the ancient evil that Orlok represents.

Brimming with a macabre menace, the film is a worthy successor to the original. Egger’s unique directorial style is evident in every frame, ensuring that the admittedly familiar story doesn’t want for momentum. Although lacking the haunting beauty of Herzog’s version, Eggers infuses the film with woe and nuance, while creating an atmosphere that is both chilling and mesmerizing. His inclusion of elements of traditional vampiric folklore adds an authentic, unsettling layer to the narrative, grounding the supernatural horror in a historical context.

The film delves deeply into dynamics of power, control and the supernatural forces that disrupt ordinary lives. Orlok's manipulation and dominance over the other characters can be seen as a metaphor for various types of power struggles, whether they be personal, societal or even gender-based. Moreover Ellen- navigating an oppressive and predatory being, as well as the patriarchal Victorian society surrounding her- could represent the resilience and strength required to face such malevolent forces.

However, this is not to say the film is without fault. The dialogue is very mannered and stilted at times, while Egger’s characterisation, particularly of secondary characters, is slim. While Ellen is given some depth, as well as Thomas’s ally Friedrich Harding, most other characters are reduced to little more than caricatures, lacking personality. This is a particular problem with Orlok and Thomas, both of whom are one-dimensional, undergoing no real change or development throughout the film.

Conversely, the visuals are stunning. Filmed on 35mm, Jarin Blaschke’s cinematography is highly evocative, capturing the eerie beauty of the Carpathian landscapes and the haunting gloom of the streets of Wisborg. He makes excellent use of what Herzog refers to as “the drama of the landscape,” enriching the film’s visual impact. Eggers and Blaschke pay homage to a variety of films, incorporating elements from classic German Expressionism, with its stark contrasts and dramatic shadows, as well as nods to more modern horror aesthetics; resulting in a film that looks timeless.

Moreover, the use of lighting, as well as a desaturated colour palette, amplifies the film's moody and eerie ambiance. Craig Lathrop’s atmospheric production design further enhances this, creating an immersive environment feeling both familiar and otherworldly. From the decrepit Orlok castle, which physically withers as one watches, to the rat-riddled streets of the city, each location appears authentic and highly detailed.

Linda Muir and David Schwed’s costume design is also noteworthy. The intricate details and gothic attire contribute to the film's realism and stark tone. Additionally, Orlok’s makeup and prosthetic work is impressive, adding to the character's menacing presence on screen. Equally important is Robin Carolan’s score. His haunting melodies and dissonant tones perfectly complement the film’s eerie atmosphere, heightening the tension, while drawing one deeper into the pitch-black world of the vampire.

Lily-Rose Depp stars as Ellen, offering a performance driven almost entirely by physicality. Her line delivery is frequently stilted and she rarely finds the emotional nuance the role demands. She throws herself into the film's physical demands with admirable commitment, but proves a far more convincing screamer than dramatic actress.

Nicholas Hoult, as Thomas, provides a welcome counterpoint to Depp's intensity. He brings a nuanced, restrained presence to the role, grounding the film whenever it threatens to disappear into gothic excess. Although Thomas is somewhat underwritten, Hoult imbues him with quiet strength and growing desperation, making him one of the film's most compelling characters.

Bill Skarsgård, no stranger to the world of horror and looking like a moustachioed corpse midway through putrefaction, is operatically sinister as Orlok. Reportedly working with a vocal coach to lower his voice an octave, he sounds like the devil on a moonless night. Although lacking the melancholy Klaus Kinski brought to the role, he makes for a terrific villain, whose presence is genuinely unsettling.

Furthermore, Aaron Taylor Johnson impresses as Friedrich Harding, making him an interesting, if underutilised, character. The great Willem Dafoe does typically excellent work as occult expert Prof. Albin Eberhart Von Franz, Eggers’ version of Van Helsing. No-one can play a mad doctor as well as Dafoe, as he proves here yet again. Ralph Ineson is similarly good as Ellen’s doctor, elevating a somewhat underdeveloped part. Conversely, Simon McBurney is oddly miscast in the role of Herr Knock, Orlok’s loyal servant.

Having said that, Robert Eggers’ ‘Nosferatu’ is a visually stunning, emotionally intense addition to the vampire film canon. While it may have its flaws, such as some underwritten characters and mannered dialogue, its strengths outweigh its weaknesses. Eggers’ direction, combined with strong performances from the majority of the cast, ensures that this remake is both a loving homage to its predecessors and a reasonably fresh take on the classic tale. In conclusion, if Murnau's original 'Nosferatu' was the bite that started it all, then Eggers' version is the reinvigorating transfusion keeping the genre truly undead and well.