A Beautiful & Graceful Blood-Soaked Nightmare
“Does evil come from within us? Or from beyond?” By the time this question is desperately implored by a bedridden Ellen Hutter (Lily-Rose Depp), enough has gone down that one may wonder whether the answer will make any difference in the long run. Robert Eggers seems to think the answer is a bit of both and it most definitely makes a difference in the continuation of the peril faced by the fictional German town of Wisborg in 1838. Eggers Nosferatu is a lifelong passion project for him as the iconic 1922 silent film was crucial in his desire to become a filmmaker. Eggers broke out in 2015 with his indie horror “The Witch” which launched the career of Anya Taylor-Joy whom he would work with again on his Viking-era revenge thriller “The Northman”. Anya was originally going to be Ellen Hutter but she had to step aside due to scheduling conflicts for “Furiosa”. As mind-bogglingly brilliant as she would’ve been in this role that is so beautifully and depthfully written, Depp is astonishing in a body of work so mesmerizing and spellbinding.
Nosferatu is unlike the countless remakes of the silent film as Ellen is placed at the forefront and the film is so much stronger for it. Having awoken the spirit of the demonic entity Count Orlok “Nosferatu” (Bill Skarsgard) in her oppressive youth when she prayed for a guardian angel, Ellen has been haunted for most of her life. Her new marital bliss with the kind and gentle Thomas (Nicholas Hoult) does not sit well with the count as he wishes to have Ellen to himself. Under the guise of securing a new property, Thomas’s ambitions as a new realtor is proven useful for the count to request he travel to his property in Transylvania to sign the necessary papers. Ellen feels the looming threat of something sinister and pleads with Thomas not to go. He reassures her all will be well and leaves her with their mutual friends the Hardings (Aaron Taylor-Johnson & Emma Corrin).
Thomas’s encounter with the count is a nightmare from the moment he arrives. The quality of filmmaking is beautiful throughout but especially in the bleak dark winter nights of the count’s home. The sound of the fire burning amongst the stone floors sizzles with threats of unenviable terror. Upon confirming Ellen’s identity as Thomas’s wife, the count injures Thomas and makes his way to Germany as a stowaway on a ship he of course shows no mercy.
Ellen suffers terrible fits and episodes as she wrestles with the growing realization something monstrous has befallen her and will only continue to get worse. Dr. Sievers (Ralph Ineson) has her tied to her bed and insists she keeps her corset on to “help her posture”. Female hysteria was the go-to diagnosis for most women of the 1800s and sane women who aren’t listened to were among the most diagnosed. Sievers seeks help from his former professor Von Franz (Willem Dafoe) who is a controversial expert of occult philosophy.
Von Franz is outraged at Ellen’s medical treatment and gently befriends her as he gets her to open up as she is weakened and bedridden. He becomes convinced of the count’s intentions to claim Ellen and upon the count’s arrival, he brings many rats that start a deadly plague, placing everyone in danger just in time for Thomas’s return.
The sexual politics of Nosferatu has been analyzed and discussed by many critics and cinephiles but what makes Nosferatu most endearing is how much is reclaimed by the brutal end despite the pain-riddled sacrifices. The count can haunt Ellen but cannot claim her. She must consent to his pursuit of her and her refusal to do so causes him to go after those she cares about. The count insists that Ellen so passionately praying for a spirit of comfort in her youth confirms that she belongs with him. It is very much the equivalent of modern victim-blaming culture. Ellen certainly seems to harbor much sexual repression as she was traumatized by the oppressive dynamics of her culture long before she prayed out for a spirit.
The entire cast works wonders together and independently. The chemistry between Depp & Dafoe is particularly memorable. I loved their friendship. A source of hope amongst such hopelessness. You’d think it to be a replica of what he and Emma Stone had in “Poor Things” but it’s something very original. It’s the kind of role that on paper, you’ve seen Dafoe do a thousand times but he provides something new every time. Having begun his success shadowing the most creepy of characters, he’s truly become one of the most tender faces in independent cinema.
The cinematography is out of this world. A giant shadow of the count's hand looming across the Wisborg winter's night is spine-chilling and intoxicatingly beautiful. One can’t look away. Nosferatu leaves me with much to say to those in my circle who will see it. I desperately cannot wait to see you again. Nosferatu is a beautiful and graceful blood-soaked nightmare about living amongst impending threats and the continuation of society’s weaknesses during times of crisis. With Trump about to re-enter office in a matter of days, I cannot think of a better time for this film to come out. Again, it’s so much about “Impending threats” and how we as a society have such different ways of dealing with them.
Some audiences who don’t do horror very well will never be able to sit through it. I can see some audiences feel drawn to Nosferatu out of curiosity. Those considering a screening, I advise them not to do so unless they finish it. It’s petrifying throughout but the end has more beauty and love than I could have anticipated. Every moment of horror at its highest level is worth it. The final piece of advice: Don’t repress any screams that may try to escape you during a screening. Your fellow audience will only feel validated by it.
Poglyadika. (n.d.). Poster Design for Nosferatu 🩸 : r/roberteggers. https://www.reddit.com/r/roberteggers/comments/1e0x0qy/poster_design_for_nosferatu/?rdt=37629
Comments