Its eerie, silent pictures seem to emerge from some distant crypt of time, conveying that sense of the mysterious more potently. Murnau produced by Albin Grau written by Henrik Galeen freely adapted from the novel Dracula by Bram Stoker cinematography F. Greta Schröder, acting her gothy socks off. He feels diminished and humiliated as a result, as his uniform and job were essentially his identity. But it's flat and - pardon the vampire pun - lifeless.
And boy does this transfer deliver. Nonagenarian special effects such as Orlok packing himself into his coffin, and later lurching out of it, still feel vibrant. While there are no bonus shorts or additional feature films, as they sometimes do, we are given two audio commentaries, a making of documentary, two additional featurettes, and a lengthy, in-depth booklet that really dives into the film and the restoration. I did expect the movie to have more of an overall haunting, shadowy atmosphere - but it was customary, in the silent era, to shoot nocturnal scenes in the day, and then tint the print blue to signify night: so we often see Orlok moving about in bright light. The sound on the discs are in 'Dolby2. The only downside is that it's crammed inside the Amaray and would have been better placed outside the box in a slipcase. Who in hell mastered this aberration? In the case of Nosferatu the pulldown is 1212123 1, 1212123 1.
Remade by Werner Herzog in 1979 and inspiring films as diverse as Abel Ferrara s King of New York and The Addiction, and E. Fourth place goes to the German Universum Film edition. Composed by Hans Erdmann and only ever performed live prior to the 2007 release, the score was recorded by the Radio Symphony Orchestra Saarbrücken and conducted by Berndt Heller. Full of startling imagery, Nosferatu is a shining example of the best of German Expressionism and silent horror. Abel Ferrara on the other hand is virtually incoherent and what I could make out didn't strike me as especially interesting.
But as a horror film, it is unmatched. Both versions are of merit and it is down to personal preference as to which you view. John's script for The Addiction, and running through a range of vampire characteristics from different cultural myths. Video Despite the inevitable print damage that comes with an eighty year old film, Murnau's direction and the cinematography is still fantastic. But you can only go so far. But it's important to remember that for a long time Nosferatu was close to being classified a lost film. .
This gives an idea of the only way a relative few got to experience the film at all before the home video revolution. Sight and Sounds review from Tom Milne is included in the booklet as well and offers a fascinating look at the film from the time of its release in 1979, essential stuff. For a director to be able to so much in 1922 is just amazing. Utterly unable to integrate into normal society and pass for human he lives a parasite on the outskirts, using low cunning and demonic powers in order to obtain a new food supply. It is as beautifully restored as it can be and the film is tinted throughout in a way that enhances the viewing experience. Knock receives correspondence This was intriguing but the eighty page booklet that comes with the set goes further. In the title role, Max Shreck has a striking look that is far removed from the character described by Stoker - he has rodent-like teeth, a bald head and pointed ears - and there is nothing remotely attractive about the creature.
Instead, what it does have is a totally unnecessary second disc with another copy of the film. There are, however, others that are just as intriguing. The childhood information and interviews with relatives of Murnau and his associates initially suggests a standard biographical piece, but this soon gives way to some revealing detail on the director's early 'lost' films, which are accompanied by stills and clippings and a rare surviving clip of his second film Satanas, whose blatant eroticism is, to say the least, intriguing. A brighter yellow for daytime, as commonly seen in silents of the period, would be far preferable and less confusing. Max Schreck's Count Orlock is as far removed from Christopher Lee's Gentlemanly Count as it is possible to get. To see just how herky-jerky the Kino looks, check out this of their English transfer.
Particularly jarring is its choice of a greenish shade, usually used to indicate intrigue or suspense, for all of the night scenes. But Orlok is also the vampire Nosferatu and when he takes a shine to Hutter's young wife Ellen Greta Schröder , it seems that the worst is indeed possible. As such you need a pretty darn good reason to go out and re-buy the film, especially if it is a fairly pricey set. Part of the film's lasting success is without doubt Schreck. This is a precious object then, a totemic silent film in beautiful packaging and supported by more supporting material in the form of articles, audio commentaries, interviews and documentary footage than you could possibly expect.
All this makes this a definitive version of Nosferatu. Murnau s surreal 1922 cine - fable remains the original and landmark entry in the entire global tradition of ''the horror film''. Still on board is the phenomenally detailed — though sometimes over-analytical — extract from The Material Ghosts: Films and Their Medium by Gilberto Perez seriously, it's 28 tightly packed pages , a 1921 piece on vampires by Nosferatu producer and designer Albin Grau, notes on the 2007 restoration, sizeable extracts from an article by Enno Patalas detailing an earlier restoration, a short essay titled The Bridge by Craig Keller, film credits, stills, a press poster and the usual notes on correct viewing. This one is poignant and sad, but insightful. More than ninety years since it was made and released, 'Nosferatu' is no longer the sort to elicit fear and terror in its audience.
Murnau's photography is beautiful, especially given that the print was tinted to indicate night and day, and the picture quality here demonstrates the beauty of his lighting and composition at its best. Adding two shorts and a stills gallery over their , it omits some now redundant text-based extras. Regarding their respective colour schemes, though they both use the same tinted for reference, for they vary greatly. Even after watching the 1931 and 1958 adaptations of 'Dracula' within a few days of this, I still found it captivating. That was before these more enlightened times of restoration and proper presentation.