“Nosferatu: A Haunting Revival of Horror Cinema”

It’s about time we acknowledge it. The discussion regarding whether “Die Hard” counts as a Christmas film is thoroughly tiresome. Clearly, it does. Let’s put that debate to rest (hard). Nonetheless, we currently have a new topic for discussion. My latest favorite holiday film: Robert Eggers’ “Nosferatu.”

Hear me out, it premiered on Christmas Day, I watched it in a crowded theater on Christmas Day, and there is, I believe, just one scene featuring a Christmas tree. Christmas film. Additionally, “Nosferatu” is a remarkable movie beyond just the holiday spirit.

I don’t want to imply that I was anticipating to enjoy “Nosferatu” specifically, but it’s understandable that I do. I adore “Dracula” and its various adaptations, the classic 1922 “Nosferatu,” the, in my view, superior 1979 “Nosferatu,” stories about vampires, and gothic horror in general. I am a fan of Robert Eggers’ “The Witch,” and I appreciate Willem Dafoe.

That said, I typically attempt to approach new films with modest expectations, so I was slightly apprehensive about this one, considering my elevated hopes. Thankfully, those concerns were alleviated. The film is exceptional, dripping with Eggers’ standard meticulousness and offering a fantastic retelling of the beloved tale.

For those unfamiliar, the concept of Nosferatu originated with F. W. Murnau’s 1922 German silent film “Nosferatu: A Symphony of Horror.” This film represented an unauthorized adaptation of Bram Stoker’s 1897 novel “Dracula” (yes, the “Dracula”). Despite borrowing heavily from Dracula and triggering Stoker’s widow to file a lawsuit, “Nosferatu” gained immense popularity and left a mark on cinema.

In 1979, director Werner Herzog recreated the film as “Nosferatu the Vampyre.” This remains my top choice among the three films, but only because I truly love all of them.

Now that we’ve established some background, let’s delve into the details of Eggers’ version. The 2024 “Nosferatu” is primarily a remake of the two previously mentioned films. This situates the film in a somewhat restrictive space, as Eggers cannot stray too far from the other adaptations without appearing unfaithful. Conversely, he cannot remain excessively similar to the previous films without coming off as redundant. Eggers skillfully navigates this challenge.

“Nosferatu” is not my ideal “Dracula” adaptation, nor is it technically the most remarkable film based on it (though it comes close), but it is undoubtedly the most powerful film I’ve experienced in terms of capturing the mood and ambiance of “Dracula.” The film serves as an effective horror piece, indeed, but it’s also a profound tragedy. This is what renders it so unique in my view. While other adaptations often emphasize horror or camp, Eggers’ latest endeavor focuses on the melancholy at the core of the original novel.

Heaven forbid I pen this review without addressing Count Orlok. After years of being confined to cereal boxes and “Scooby-Doo” jokes, this film restores the fearsome nature of the count of many names. Bill Skarsgård embodies the role flawlessly, immersing himself entirely in a manner no other actor portraying Count has. The way Orlok’s voice is integrated into the film’s sound design is simply astounding.