This 1979 Werner Herzog Horror Movie Is Required Viewing for Nosferatu Fans

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The 1979 horror tribute by acclaimed director Werner Herzog, titled Nosferatu the Vampyre, is remarkably similar to being an ultimate visual guide for what most people envision when considering classic Dracula in films. Half of it is an original screenplay penned by Herzog himself, while the other half pays homage to F. W. Murnau’s 1922 silent film Nosferatu, featuring numerous scenes recreated shot-for-shot. It proudly stands side by side with its century-old counterpart in capturing the atmosphere and themes from Bram Stoker’s 1897 novel, Dracula, through a distinct visual language. (You can stream it now on Peacock!)

In the dark hours, bats soaring through the sky, ancient mummy faces captured authentically in Mexico, and above all, the gaunt, tired, and chilling visage of Count Dracula (portrayed by Klaus Kinski, a frequent collaborator of Herzog) – hardly any frame of Nosferatu the Vampyre lacks an enduring, haunting image that defines gothic horror at its most intense and menacing. Given your familiarity with Herzog’s directing style, this emphasis on visuals shouldn’t be unexpected… and it certainly suits the macabre theme of the film.

Given that Robert Eggers’ modern twist on “Nosferatu” is causing quite a stir at the box office right now, it presents an ideal opportunity for us to delve back into Herzog’s rendition, a chilling take that left audiences spellbound some years back.

For more on Nosferatu

Delving into the Spooky Origins of Nosferatu

or

Exploring the Movies that Shaped Robert Eggers’ Version of Nosferatu

or

Robert Eggers Discusses His Take on Nosferatu’s Timeless Horror Story

The definitive Dracula imagery of Nosferatu the Vampyre

In one of his conversations with Roger Ebert, Herzog expressed that our culture yearns for fresh perspectives. Speaking about the movie Nosferatu the Vampyre, Ebert admired its ability to breathe life into a well-known horror character: “This film does justice to the gravity of vampires,” he said. “I may not believe in them, but if they truly existed, this is what they would resemble.

It’s possible that Ebert wasn’t just commenting on Kinski’s portrayal of Count Dracula; after all, with his long, gnarled nails, bitten ears resembling rats, snow-white bald head, and noticeably sharp teeth, the late German actor certainly conveys a chilling screen presence that rivals Darth Vader in terms of embodying classic villainy from stories.

In every scene, this movie is filled with typical gothic images that never let up, such as Jonathan Harker (Bruno Ganz) walking alone through the Carpathian mountains and reaching Dracula’s castle over turbulent waters; the chilling laughter of Renfield, a faithful servant who seems to convulse with fear; and in the end, when rats have taken over the city, the remaining townsfolk hold a twisted celebration as they await their own deaths.

During Nosferatu the Vampyre, the camera lingers thoughtfully on somber and haunting visuals that leave a lasting impression. A lone captain clings to his helm, resolute in delaying death until he reaches port; later, this very ship moves with a slow, eerie precision under supernatural control into an inconceivably narrow canal – the captain still bound at his post. The eyes of Lucy (Isabelle Adjani) pierce the total darkness around her, conveying terror through silent, chilling stories. Despite anticipating it, the impact is genuine when Kinski’s Dracula loses control, violently flinging a chair aside to feed on Harker’s freshly cut finger.

Many contemporary admirers recognize Herzog for his acting roles later in his career: He portrays the malevolent “Client” in The Mandalorian, who pays a high price to obtain Baby Yoda; he delivered an outstanding performance as the main antagonist in the first Jack Reacher movie alongside Tom Cruise; and he provides the central narrative for many of his own critically acclaimed documentaries, such as Grizzly Man from 2005 and Into the Inferno from 2016.

However, as a true director, Herzog has never shied away from grandiose endeavors. When he and Kinski collaborated to narrate the tale of a man who transported a steam ship across the Andes Mountains in the film Fitzcarraldo, Herzog aspired to replicate this feat for the camera, albeit on a smaller scale, by documenting his own attempts at moving a 320-ton ship up a hill. Stories of obsession have always drawn Herzog in, and films such as Nosferatu the Vampyre display an intricate craftsmanship – evident in the intense visual drama permeating nearly every scene – that hints at a shared creative bond between Herzog and his most obsessive fictional characters.

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2025-01-06 22:31