Nosferatu is the latest project from famed writer-director Robert Eggers. Widely regarded as the industry’s foremost horror director, Eggers offers his take on the 1922 silent film Nosferatu: A Symphony of Horror, directed by F.W. Murnau. While reviewing the film, this article will comment on how a filmmaker’s background and style serve as a critical determinant of a remake’s success.
In contemporary filmmaking tradition, studios have increasingly adopted the credo of acquiring recognizable intellectual properties (IPs) and appointing directors who take a passive, hands-off approach to their craft. The profitability of established properties and shared cinematic universes have driven a trend of studios prioritizing marketability over artistry and a clear vision. This has often resulted in films and franchises lacking creative depth—leading to lukewarm critical receptions, as well as an oversaturation of IPs.
Nosferatu: A Symphony of Horror, often cited as a central work of the revolutionary German Expressionist movement, was itself adapted from Bram Stoker’s novel Dracula. Despite being the subject of prolonged legal battles with Stoker’s estate surrounding copyright disputes, the film went on to achieve cult status, credited for its iconic and influential visual style. Legendary German filmmaker Werner Herzog previously tried his hand at a remake, with 1979’s Nosferatu the Vampyre.
Among those influenced by the original was a young Eggers, who pined to produce a remake for nearly a decade. In the past decade, the filmmaker has more than proven his suitability for the gothic with each of his previous efforts, The Witch, The Lighthouse, and The Northman, experiencing critical laudation. Given that the IP of Nosferatu has only been appropriated twice across the preceding century, there is no present risk of oversaturation.
Nosferatu boasts a small yet illustrious cast, sporting the talents of Lily-Rose Depp, Bill Skarsgård, Nicholas Hoult, and Willem Dafoe among others.
Set in mid-nineteenth century Germany, the story follows the Hutters (played by Depp and Hoult), a seemingly unassuming young couple, through their dark encounters and subsequent torment at the hands of the sinister vampire, Count Orlok/Nosferatu (Skarsgård). Throughout their tale, the couple experience profound tragedy, reveal macabre truths, and wrestle with their morality.
The acting, while not breaking any new ground, is consistent across the board. Frequent Eggers collaborator Dafoe gives a particularly refreshing performance, providing the bulk of the film’s comic relief. Depp and Hoult both prove to be strong leads, aptly displaying fear, melancholy, and mania. Their performances also pay homage to the expressionist movement. While Bill Skarsgård does not reach the heights of his predecessor, Klaus Kinski, his take on the titular monster is nevertheless an enjoyable watch.
Nosferatu has a lot to offer to both dedicated horror enthusiasts and cinephiles alike. The horror elements are bolstered by an eerie sound design effective for building suspense, as well as special effects that range from mildly unsettling to overtly gruesome. Eggers’ trademark dynamic camera, abound with tilts and tracking shots, along with slow zooms, are perfect tools for building suspense.
This does not mean that the story is littered with cheap thrills. The shocks are simply accessories to the film’s tragic beating heart. Eggers’ track record of dealing with issues of loss, despondency, and ennui certainly pays off here. Similarly, the film touches on familiar themes of religion versus the occult, puritanism as it pertains to women (both captured in The Witch), as well as moral dilemmas (The Lighthouse). Though it can be difficult to compose a palette of mostly darker colours, Eggers has shown his aptness to do so in an interesting and striking manner in The Lighthouse. Even so, Nosferatu introduces warm orange tones and natural lighting to explore a more Romantic approach. Eggers continues another common motif of his work, using grand, detailed set pieces and the natural environment to reinforce the story, similar to The Northman.
One point of contention with the project is that Eggers does not materially venture out of his comfort zone. While this criticism has some merit, it can be argued that, given the film’s story, it is preferable for the director to operate within his thematic wheelhouse.
In short, Eggers continues a dominant run of form to begin his cinematic career, producing four widely celebrated films in as many tries. Nosferatu is a compelling example of why film studios should prioritize selecting a qualified director whose vision aligns with the IP and grant them greater creative control. In doing so, filmmakers are liberated to forge an artistically coherent product that may otherwise have been diluted by excessive studio interference.