The music is simply reconstructed in relating to the contemporary practice: using emotionally connoted music from different sources. Maybe - like we know from many other silent movies - there has been preserved a list of musical examples originally used to accompany this film, and Robert Israel's reconstruction is based upon it. Unfortunately, we aren't informed about this context in the introductory notice.
what happens when you are a gullible young man with your head propelled high up in your dreams. a realist story of a decaying family reminiscent of 19th century literature and directed by one of the most beloved german directors of all time. it has everything but that flicker of a filmmaker's surreal eccentricity which pushes me toward a five star rating. an early cinema masterpiece nevertheless.
I don't think I've seen another film, save perhaps Birth of a Nation, that utilises colour tinting so well. With its miserable blues and equally unsettling yellows, this film's colours provide Murnau with a curious tool for constructing his particular brand of contemporary myth. It's heartening to know that the fluid Phantom was released in the same year as the static Nosferatu.