Nosferatu (1922 film)

 In keeping with my haphazard exploration of certain genres of cinema, I recently viewed Nosferatu: A Symphony Of Horror, the classic 1922 German silent horror film, directed by F W Murnau, and starring Max Schreck.

This film is essentially a 'Dracula' movie.  The main character's name was changed to Count Orlok (played by Schreck). This, and other alterations from the original tale of Dracula, were made in an attempt to avoid copyright complications.

Nosferatu bears many of the hallmarks of the German Expressionist school, although I find that the sets and 'backgrounds' are less overtly emblematic of the style than, for example, The Cabinet of Dr. Caligari.

It could be argued that exaggerated body language and facial expressions are present in most silent films, and they help to overcome the absence of spoken dialogue, and also heighten symbolism and the curiosity of the viewer. Emotion and meaning can be transmitted more deeply and acutely with the 'over the top' gestures and behaviour.  However, the impact of this acting 'style' seems even more pronounced when combined with some of the characteristics of German Expressionism, powerfully complementing the 'inanimate' features of the landscape or background.

This picture is almost one hundred years old, but its enduring resonance and draw underline the fact that film-making is about imagination, sensitivity and ideas, not cutting-edge technology or budget.  The limitations of the equipment possibly led people to dig deeper into their reserves. In addition, the relatively 'primitive' visuals and production values caused the viewers to delve into their own imaginations.

Acting-wise, Max Schreck naturally garners much of the attention in this film, and he is indeed captivating and scary, but another standout performance is that of Gustav von Wangenheim in the role of Thomas Hutter,

The outdoor settings are suitably bleak and forbidding, as are many of the sets and buildings, and the indoor locations, but again I would contend that the imagery is perhaps more subtle and less 'distorted' than some other movies from the same sub-genre. 

Good use is made of shadow, and not just in the very famous shots of Schreck ascending the staircase. It remains striking and humbling what film-makers were able to achieve in those days. And it was not just a case of innovation for the sake of innovation; such things were an integral part of the emotional narrative.

Nosferatu has an intangible power, which both absorbs and disturbs the viewer, and it is undeniably an astounding feat of cinema. A work of art as much as a film.