- Date of Release: 25 December 2024
- Genre: Fantasy, Horror, Mystery
- Language: English
- Watch On: Theatres Only
Nosferatu
Introduction
The emerging fears in Nosferatu, the adaptation of the 1922 film of the same name which in turn was inspired from the 1897 novel Dracula, is both outwardly and inwardly. If the monochrome atmospherics are enough to startle you while tactfully luring you in the drama, it is the characterization that remains even more scary. For instance, you are introduced to the character of Ellen (Lily-Rose Depp) who literally pleads for the arrival of a supernatural being – in a way a meta-reference to the viewers being lured into the drama by the atmospherics. You can make out that Ellen is a loner and hence, desperate for results of having to search for her comforting space that invariably coaxes her to make a horrific life decision – on surrendering herself to a monstrous being (a solid reference to the dating apps that leave you a loner and desperate to find results in the modern day setup committing to the first available option). And in that regard, Nosferatu can also be viewed as a Shakespearean tragedy of sorts that is immersed in darkness, evil and negativity.
Story & Screenplay
The premise of Nosferatu borrows from the age-old concept of good versus evil with a hash of the supernatural spirit that forms the core of the drama. It is almost like a bout that is being shared by two contenders – one being the underdog and the other a resounding ruthless creature that will stop at nothing. So along with Ellen on the good side, you are witness to Thomas (Nicholas Hoult, his second crack in the Dracula world after the forgettable Renfield), a character who seems invariably like a rebound of sorts. It is unclear on whether Thomas is the love of Ellen’s life or her prince in the shining armour, given that there is a brief distance between the two, almost stemming out of a sense of guilt on behalf of Ellen. Make no mistake, Ellen does have feelings for Thomas and warns him from venturing to a new city by describing her visions of Death, only for Thomas to reassure her that everything is normal and a mere figment of her imagination. Their relationship is a sharp contrast from Thomas’s friend Harding (Aaron Taylor-Johns) who cannot keep his hands off his wife Anna (Emma Corrin) while having two children of their own (Thomas and Ellen have no children).
In the meanwhile, the spooky and ghastly atmospherics are enough to indicate that something is amiss even as Thomas is seemingly lured into the trappings of both the horror genre and an unknown Count Orlok, the latter who would stop at nothing from gaining control of the former’s life and love. It is almost ironic that Count Orlok changes shape and form in order to spread his wings of terror. He isn’t your stereotypical imagery of a Dracula who is bald or possesses fangs. In fact, the body that he possesses is also edgy with greyish skin and a rumbling voice that seems repulsive and intimidating, both in the same breath. And even as Thomas is plagued with visions of a corpse being impaled, his first interaction with Count Orlok is probably his worst nightmare to have come true. Yet, the fightback here is more on the lines of survival than landing a knockout punch, for his nemesis is unlike anything that he would encounter in human-form.
The proceedings are also subversive with respect to the discussion around mental health. You are witness to the character of Ellen suffering from bouts of seizures, a recurring theme of sorts that has presumably victimized her even before she may have met Thomas. It is almost a deconstruction of the mental health status in an era (1830s) that was oblivious to the very idea of it. In a brief scene, you see an inkling of a start when Harding’s daughter yelp in fear of a monster being under their bed. For Ellen, it is the opposite – the monster has overpowered her mind and her mental state that invariably has triggered seizure as a form of a self-defence mechanism. Yet, the subversive nature of the drama is more aligned to the central ‘supernatural’ theme of the film through the character of Von Franz (Willem Dafoe), who represents the cure of the supernatural entity through his discreet practice of occultism.
The love triangle here is a unique one but in many ways representing the toxic complications of love. The toxicity literally and figuratively emerges from Nosferatu himself, who induces the destruction of the city of Wisburg by bringing in plague-infected rats to cause mayhem. But one of the scariest scene involves Ellen almost seducing Thomas to have s*x with her, only so that Nosferatu could watch her perform the act. The stakes in the drama much like the horror, is both outwards and inwards – while you witness the plague causing deaths around, it is Ellen who is risking her body and her soul for the greater good. It is almost psychological to a point wherein you see her character accepting her fears and her mental-health issues that is half the battle won. Yet, the underlying layer of a Shakespearean tragedy cannot be discounted either – a setup wherein everyone stands to gain and lose at the same time. The screenplay is mounted on a solid platform of atmospherics that not only emotes the language of the bygone era but also successfully creates an ambience of fear, well…both that is internal and external, much like its static theme. And it does lead to a chilling and unnerving experience.
Dialogues, Music & Direction
The dialogues are true to the polished era of the bygone era while infusing bouts of rawness through the rumbling tone of the ‘Dracula’ monster, that cuts through the narrative thereby balancing it out. There is a simmering sense of intimidation that is prevalent through the lines that invariably doubles up as acts of fear in the minds of the consumer. The BGM does emote a gothic feel to the proceedings while being instrumental in creating an ambience of fear through its systematic notes in play. Likewise, the cinematography wonderfully uses the lighting in the drama, almost superimposing a ‘negative’ onscreen to depict the monochromes for the monstrous creature, while effectively playing with the shades of grey that collectively creates a wonderful ambience of fear. The editing is pretty good, crisply connecting the dots while also allowing the scenes to simmer in bouts of fear. Director Robert Eggers is the master of gothic world-building, something that we all did witness in films like The Lighthouse and The Northman. Here too, he is supremely effective in bringing in a unique repulsive flavour through his atmospherics that automatically paint a fearful picture. It is like waking up in your worst nightmare and treading forward as the last resolve. And add to that, he masterfully creates his characters while drowning them in a sea of black into his world, to create an immersive horror that eerily lingers on, long after the film is over. The direction is stupendous.
Performances
The performances are pretty solid by the members of the cast. Simon McBurney as Herr Knock is eerily intimidating as a variant of Renfield, and his antics are enough to give you nightmares. Emma Corrin as Anna and Ralph Ineson as Dr. Sievers have their moments to shine. Aaron Taylor-Johns as Harding is exceptional in delivering a much needed emotional core to his character while being vulnerable in the second half of his character. Willen Dafoe as Prof. Von Franz is poker-faced with his emotions that automatically adds depth to his character. He essentially plays the catalyst of sorts that invariably contributes to the thrills of the drama. Bill Skarsgard as Count Orlok aka Nosferatu is intimidating with his rumbling voice while creating an aura of a nightmare around him. He definitely hits the right notes with respect to the fear that he imparts that invariably makes the character unnerving and chilling. Nicholas Hoult as Thomas is understated and very earnest and sincere with his act. He plays the silent cog of support while also deftly being intense in a few scenes. Lily-Rose Depp as Ellen is a layered and complex character that required a lot of physicality as a by-product. Her unpredictability was an important ingredient as well and Lily just smashes it out of the park with her impeccable performance. She is agile to showcase her insecurities and vulnerabilities with panache, even while delving emotionally deeper into the psyche of her character that makes for a memorable outing.
Conclusion
Nosferatu is an unsettling adaptation laced with darkness while being packaged in a gothic tale of obsession that makes for an unnerving watch, even as its effects linger far after the film has ended. Available in a theatre near you and Highly Recommended!
