Extra 1/2 star added for overall creepiness and inventive camera work. This is basically a silent, and the minimal dialogue just adds to the ambiance in a beautiful way. The actors are essentially unknowns (a Dreyer trademark) & somehow it lends a documentary feel to the film, like it really is happening. Idk, I was blown away by it and loved Joan of Arc, maybe my fav Dreyer. Maybe you'll dig it too. 5 easy stars
As much as Vampyr is deliciously rich w/ Dreyer's own cinematic influences/context, there's something about the film, his films in general, that make me feel certain I'm seeing something distinctly formative to movies as I know them, & w/out which the medium would be somehow poorer. The euphoria, though, is in the film's integrity; its ceaseless consistency of vision, & the sheer connectedness that must've come from.
Full of atmosphere, setting and beautiful use of camera and practical effects to simply cause unease and a deep sense of dread. The last act felt strange with it’s overt use of reading from the book to explain the occurances but beyond that gripe an amazing technological feat of film making and an uneasy watch for all.
Vampyr is really two movies: the first, a linear vampire tale that can be resolved easily by a stake in the heart, and the second, an eerie cinematic poem about the spirituality of contemplating death. And it's a testament to Dreyer's interests that the second film—the stronger one—so smothers the first that audiences were confused. A classic of arthouse horror, a literal journey through darkness towards the light.
9 - A film that could have only been produced in cinema's transitional period from silent to sound; it takes the former's expressionistic leanings while adding a hazy, off-kilter experimental style of its own that feels like a genius stretching his legs into a realm of new possibilities. Whatever plot there is only serves to loosely frame the film's dream logic; and, like said logic, its greatness is irreducible.
Até hoje nunca vi um filme que lançasse sobre a imagem uma sombra de desconfiança tão grande. Dreyer dá a ver a impostura do visível, e tudo se mostra como um reflexo fantasmático, um falso ícone de um ainda mais falso deus (o vampiro). É um filme de terror platónico, portanto.
I rewatched this one, and it grew on me. Sadly, I watched it with Year of no Light's soundtrack; which is a mistake as I prefer my silent films silent. I love their music, and this was more a droney piece, than their heavier work; but as a soundtrack it really didn't work. Much too heavy, and very distracting. For the film, there are some really impressive segments and atmospheric imagery in parts, but as a whole...