Sent to Transylvania to negotiate for a house purchased by the monstrous Count Dracula, Jonathan Harker leaves his idyllic town, turning a deaf ear to his wife Lucy’s ill omens. Soon, Jonathan finds himself trapped, and Dracula descends from the mountains towards Lucy, with death and plague in tow.
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If this film had a happy sappy end, that is if the young woman’s sacrifice zapped Nosferatu and reverted the pestilential consequences of his arrival in town, it could have been a lavish correlate to Juraj Herz’s “Beauty and the Beast”, which is btw the most illustrious Plotinian myth I can think of: good underlining beauty, because beauty alone will save plain nada, Dostoievski! It didn't, so the film fails to take
"Cruel is when you can't die even when you want to. The absence of love is the most abject pain....We've all contracted the plague, so let's enjoy whatever time we have left to live." 4.2 stars for Herzog's star-studded, rat-filled production of the classic Nosferatu.
What I always admired about Herzog was his ability to control Kinski somewhat. Not that they didn't have raging battles. It's just that you see him in so many non-Herzog films, and he just runs rampant. Kinski needs to have a strong hand guide him. The poster for this movie was extraordinay.
Herzog's take on the Murnau touchstone is everything a remake of a classic should be: a film that understands, respects, illuminates, embellishes, and expands on the original, while adding a little something personal of its own. In Herzog's hands, it's a slow but haunting dirge about how death is always present—and not just in vampire movies—with faith and superstition as the only shelters. The colors are wonderful.
Herzog's melancholy masterpiece--the opening of the mummified corpses is the most haunting scene in horror cinema.
Klaus Kinski's best performance (striking a balance between the grotesque and loneliness), Isabelle Adjani's lunar, otherworldly beauty, the sublime, numinous score from Popol Vuh (their most atmospheric, textured collaboration with Herzog), the doomed erotic romanticism.
My favorite horror film.
Herzog's take on the Murnau classic features a riveting turn by Klaus Kinski that unfortunately still pales next to Max Schreck's defining portrayal. This sterile take on Stoker's 'Dracula' lacks the power and horror of the '22 original. Of note is the score by Popol Vuh which is just dynamite. Well worth a look for its own distinct vision but a horror classic it is not...for that stick with the symphony.
This I think, is the least interesting film I have ever seen, absolutely nothing of merit whatsoever, the "characters", the cinematography the utterly trite dialog delivered by the worst acting I have seen in a long while (and with such a great cast, what the hell!?), the tired empty plot, the awful pacing, the banal ideas argh, everything is just horrible, I didn't believe a single second, what a piece of garbage.