Bram Stoker’s “Dracula” has transfixed pop culture for years since its original publication in 1897. From the iconic 1931 film adaptation starring Bela Lugosi to modern retellings of the story such as the 2004 film “Van Helsing” and sillier incarnations such as the animated film “Hotel Transylvania,” it seems that Hollywood can’t get enough of this Transylvanian vampire with an insatiable bloodthirst. The original Stoker novel has been a personal favorite of mine for a while, so I was pleasantly surprised when renowned film director Robert Eggers announced that his next project would be to adapt an adaptation of the original “Dracula” story: F.W. Murnau’s “Nosferatu: A Symphony of Horror.”
To say that my expectations for this film were high would be an understatement. As a self-proclaimed lover of horror, especially gothic horror, I was worried that Eggers’ “Nosferatu” would sacrifice character arcs and development for the sake of aesthetics, given how most adaptations of “Dracula” tend to follow that pattern. Eggers’ rendition of “Nosferatu,” however, managed to deliver on all fronts, and it is not only a love letter to the original 1922 film and Stoker’s novel, but to gothic horror as a whole.
The journey of “Nosferatu” is filled with intrigue, and, since the film’s release in 1922, has become a blueprint for the horror genre in film. F.W. Murnau’s film was an unauthorized adaptation of Stoker’s novel, and because Murnau had not received the rights to adapt “Dracula,” several names and plot points were changed: real estate agent Jonathan Harker became Thomas Hutter, his fiancée Mina Murray became Ellen Hutter, and Count Dracula became Count Orlok. The story’s setting also changed from England to Germany, and the ending of “Nosferatu” is starkly different from the ending of “Dracula.”
Following the release of “Nosferatu,” Murnau was sued by the Stoker estate and was ordered to destroy all copies of the film. One bootlegged copy managed to survive, however, and since then, “Nosferatu”—particularly the character of Count Orlok—has become a staple of the horror genre, with various homages and references to the film being made throughout the years, with Orlok even making an appearance in an episode of “Spongebob Squarepants,” of all things.
The performances in “Nosferatu,” especially that of Bill Skarsgård as Orlok and Lily-Rose Depp as Ellen Hutter, were some of my favorite parts of the film. Skarsgård’s Orlok is horrifying and grotesque, and he feels like a real, tangible threat throughout the entirety of the film. While I don’t like Orlok’s physical appearance in this film as much as the original, particularly his mustache—although, in all fairness, Dracula also had a mustache in Stoker’s original novel—that never broke my immersion in any way.
Lily-Rose Depp’s performance as Ellen, however, completely stole the show; Depp’s Ellen is a haunted and tragic figure, and it is easy to sympathize with her as she becomes a target for Orlok to torment. Her chemistry with co-star Nicholas Hoult, who plays Thomas Hutter, is incredibly palpable. I was worried that their dynamic would be bastardized, especially since Jonathan and Mina’s relationship was one of my favorite parts of the original novel and adaptations tend to sacrifice their relationship in order to make Dracula fall in love with Mina in some way. However, both Depp and Hoult did their characters justice, and they have become one of my favorite interactions between Jonathan and Mina on screen, despite not bearing their names.
Other notable performances include Willem Dafoe as Professor Von Franz, a version of Professor Van Helsing from the original novel, and Emma Corrin as Anna Harding, a version of Lucy Westenra from the original novel. Eggers included several more subtle references to both Stoker’s novel and the original “Nosferatu” film, all of which were fun to spot. One of my favorite references to the original “Nosferatu” was Ellen’s cat, Greta, who was named after the actress who originally played Ellen, Greta Schröder.
Another aspect of Eggers’ “Nosferatu” that I enjoyed was the costuming and sets. I have always appreciated that Eggers takes the time to carefully research the time period that his films take place in, making sure that everything is as accurate as possible, something that he had previously done with his debut film “The Witch,” which was set in Puritan-era Massachusetts. “Nosferatu” is no different; being set in the late 1830s, I appreciated that Eggers included the large, puffed sleeves that have become associated with women’s dresses of the era, especially since other films set during that period tend to shy away from them. While the hair on some of the characters is more reminiscent of the 1840s, it wasn’t enough to distract me from the film’s plot.
What most impressed me, however, was the research Eggers put into accurately representing Romani people of the time period. Eggers does not put the Romani characters in stereotypical “gypsy” attire, and instead accurately dresses them in what real Roma would have worn at the time. Additionally, Eggers made sure to hire Roma actors to play these parts, and he also hired a Romani language consultant to ensure that the Roma characters accurately spoke their local language. While this is the bare minimum, and the Roma still are underutilized (as is the case in most “Dracula” adaptations), I appreciated the effort that Eggers put in to ensure that Roma were accurately portrayed as they would have lived during this time period.
There were some parts of the film that I did not enjoy, however. Specifically, how the film was colored. I didn’t mind how bleak and muted everything was since it added to the overall atmosphere, but it was also incredibly dark. There were times when I felt that I had to squint to see what was happening. Eggers prefers to only use natural light and candlelight in his historical films, and while I appreciate the authenticity and accuracy, I felt lost sometimes because I couldn’t see what was happening on screen. Additionally, the film deals a lot with sexuality and, based on my understanding, is an allegory for grooming and sexual abuse. While that is not necessarily a bad thing and the film handles this subject matter well, it is something to be wary of before seeing the film as it may trigger you if you are a survivor.
Overall, Eggers’ “Nosferatu” is an excellent adaptation that pays homage to Murnau’s original film and Stoker’s novel, while also being able to stand on its own as an amazing piece of gothic horror. “Nosferatu” is not for everyone; however, if you love horror and can stomach heavy themes, then I definitely recommend that you see it in theaters. In the same vein, I also recommend reading Bram Stoker’s “Dracula,” which is excellent in itself. One of the most accessible ways to read “Dracula” nowadays is “Dracula Daily,” which allows you to experience the novel in real-time. The publication starts in May every year, so there is still time to sign up before chapters are rolled out!
