Sent by his employer to Transylvania to negotiate for a property owned by Count Dracula, Jonathan Harker leaves Holland, turning a deaf ear to his wife Lucy’s ill omens. When he arrives at his destination, however, he finds himself in a sinister, disquieting place. Dracula, after having loaded caskets onto a wagon, disappears, leaving Jonathan shut in the castle. Meanwhile in Wismar, a ship full of rats arrives; the rats spill out into the streets and spread the plague. Jonathan also makes it to the city, but is ill and incapable of expressing himself. Lucy senses the truth after reading a book about vampires and decides to sacrifice herself by keeping Dracula occupied until the first rays of sunlight break through. —Thessaloniki International Film Festival
One of the most influential filmmakers in New German Cinema and one of the most extreme personalities in film, Werner Herzog quickly gained recognition not only for creating some of the most fantastic narratives in the Film history, but for pushing himself and his crew to absurd and unprecedented lengths, again and again, in order to achieve the effects he demanded. Born Werner Stipetic in Munich on September 5, 1942, Herzog came of age in Sachrang, Bavaria, amid extreme poverty and destitution. After Herzog turned seventeen, a German film producer optioned one of his screenplays, then promptly destroyed the contract when he discovered the author’s age. Circa 1962, 20-year-old Herzog enrolled in the University of Munich as a history and literature student, and produced his first motion picture, the twelve minute Herakles, his second short Game in the Sand, and his third, the pacifist tract The Unprecedented Defense of Fortress Deutschkreuz.In 1963, he established his own production… read more
Klaus Kinski and Werner Herzog make again a combo with the first's neurotic and overly dominant personality and the later's bizarrery. The atmosphere is haunting and intensely austere at times through caravaggistic chiaroscuro. Dracula hypnotyzes and horrifies in the same time with his metaphoric and melancholic expressions " The children of the night make their music." "The absence of love is the most abject pain."
Herzog’s attitude to this remake of one of the most revered horrors of all-time is certainly admirable. He creates an atmosphere unparallel to anything I’ve ever seen, creating the illusion of terror through the simplest of methods; darkness and a trembling use of sound. Both of which combine to give the film such an extraordinary mood and the performances from Ganz, Kinski and Adjani are simply mesmerising. I’ve never actually seen the original Nosferatu in full, but from what I’ve seen Herzog’s version doesn’t try to impersonate, copy, whatever you want to call it, it just simple is a different kind of horror. One with such an overwhelming terror and one that I have no qualms about proclaiming it as one of the finest horrors I have ever seen.
A look at five varied musical compositions used by Werner Herzog as cues in his movies.