Adapting Bram Stoker’s Dracula has become a difficult feat, not only because of the sheer number of offshoots in its wake but also because the proliferation of vampires in popular culture has significantly hindered the ability to put a creative original spin on the idea. Robert Eggers’ Nosferatu, then, at least has the luxury of basing his adaptation on a particular retelling of Stoker’s epistolary novel that itself features a number of connotations from mythology (of note, recognizable character traits, an idealized atmosphere, and unfortunate shades of racism). Eggers as a filmmaker brings his own particular flavor to the proceedings, with an adherence to cultural realism and a languid pacing that lends itself to the artistic surrealism set forth by F.W. Murnau; but the question of whether that’s enough for such a highly-esteemed property is certainly left open.
The story here is largely the same as both Dracula and the previous Nosferatu, although Eggers’ primary focus is not so much the coming of the mythical vampire waylaying the city with plague as it is the sexual connotations in the psychical and physical connection between Count Orlok (Bill Skarsgard) and the wan Ellen (Lily-Rose Depp). In Murnau’s film, the advancement of the vampire is also a fear of the other bringing society’s downfall; Eggers’ vampire is drawn more to the conquest of beauty, and inherently the perverse manifestations of psychosis and possession that Ellen experiences bring to mind rape even if it’s not explicitly depicted as such. Nosferatu often engages in this gray area between love and abuse, pain and pleasure, peppered throughout with moans that could be of agony or ecstasy without being able to see the cause. As the film works its way to the conclusion, a final confrontation between beauty and beast, it becomes clear that Eggers intends to capitalize on the strength of womanhood and more particularly the abused vanquishing her abuser.
All of this is set within a casually-paced narrative encompassing Thomas’ (Nicholas Hoult) journey to Orlok’s castle and Ellen’s own ailment at home, along with the expected introductions of the Van Helsing character Eberhart von Franz (Willem Dafoe) and the Renfield stand-in Knock (Simon McBurney). As is Eggers’ penchant, the film accomplishes a moodiness that may be mostly unrivaled in vampire tales; the journey to the castle and Thomas’ initial encounter with Orlok are arguably some of the most compelling depictions of vampire evil-ness put to film, and these are due to Skarsgard’s imposing performance, the beautifully elaborate set designs, and the use of (and dearth of) lighting elements throughout. Much like Eggers’ The VVitch, Noseferatu excels at these moments but can also feel a bit staid and slow when Orlok’s presence is not front and center. Luckily, fluid camera flourishes and exceptional framing techniques keep the viewer engaged; bodily performances from Depp and scenery chewing from Dafoe also ensure the film never stagnates for all that long.
With all that said, though, there is something a bit disappointing about Eggers turning in a big-budgeted, expertly crafted take on Nosferatu that doesn’t take too many chances. This is, by all accounts, exactly the expected sum of a formula like “Dracula + Eggers” – picturesque, reverential (those shadow fingers!), and altogether somewhat devoid of emotional pathos. That’s not to say that the result is anything short of excellent; it’s hard to discount the fact that Nosferatu is an often entertaining, horrific viewing experience. But it doesn’t feature much in the way of unique surprises either, a factor that could influence the rewatchability of something as long-winded and exploratory as this film tends to be.
In the end, Nosferatu is still one of the best horror films I saw in 2024. Its enveloping sinister tone and (literal) bodice-ripping sexuality expands on those ideas already apparent in the vampire mythology and more specifically the expressionism of Murnau’s adaptation. It’s a beautifully-shot production and its acting, scenery, and musical score are all on par with the rest of its excellence. And yet there is still something missing from the magic of Eggers’ direction here that just misses the mark of something truly revolutionary. Still, it’s a supple neck from which most movie makers would strive to suckle.
For more discussion on this film than could be included in a short form review, listen to our Blood and Black Rum Podcast episode.
4K UHD
Universal has released Nosferatu with a UHD/Blu-ray combo pack, and particularly of note is the new extended cut branching here. In truth, the extended cut is only about 3 minutes longer than the theatrical running time, and it adds very little extra value to the proceedings. In a way, it does feel like the excisions for the theatrical cut were warranted simply because these elongated scenes only serve to provide a little more unnecessary context via dialogue. With that said, there’s really no reason to choose one over the other, and since it adds negligible running time, my preference is the extended cut for posterity.
As for the quality of the transfer itself, though, the 4K UHD is a thing of beauty. Details are exceptional while still maintaining the filmic nature and moodiness of Nosferatu‘s cinematography. Strong facial textures are prevalent throughout and noticeable due to Eggers’ many close-up shots of his characters. The film features a number of smoky, hazy, and foggy backdrops, and these are all managed quite well on this disc. Also of note is the Dolby Vision HDR, which manages to conjure up exceptional black levels that highlight the vast lighting effects throughout, whether that be the sharp flickering of candlelight on a face while the rest of the frame is solidly black or the more grayish-blue tinge during night sequences. As expected, the HDR fully enhances the impact of the encroaching darkness. Clothing and set design showcase the intended structure and heft. Overall an impressive, cinema-like experience for Nosferatu.
Likewise, the Dolby Atmos/TrueHD 7.1 soundtrack absolutely swells with an excellent mix that pushes dialogue to the forefront while maintaining key sound effects and score strikes in the surrounding speakers. While Nosferatu can be relatively quiet, the score from Robin Carolan has a lot of nuance and dynamism to it, well-represented here. Bassy shudders are voluminous and there are some great jump scare effects with the manipulation of Orlok’s mellifluous voice. Also notable here is that this Atmos mix spotlights the great slorping sounds when Orlok feeds. Also included on this release are French and Spanish Dolby Digital Plus 7.1 offerings, and subtitles for all.
Extras include just under six minutes of deleted scenes, along with a new six-part making of featurette that dives into all facets of the film’s production. There’s also an illuminating new audio commentary from director Eggers that avid fans will want to take in. This is a surprisingly robust set of extras for the film paired with the extended cut.
Extra Features
- NEW 4K transfer with Dolby Vision HDR
- NEW Deleted Scenes (1080p; 5:52)
- NEW “Nosferatu: A Modern Masterpiece” (1080p; 6 parts; 40:40)
- NEW Feature Commentary with Writer/Director Robert Eggers
Verdict
Nosferatu is a highly entertaining adaptation of the classic vampire tale told through Eggers’ directorial lens. This 4K UHD release is top of the line with both excellent video and audio quality, and a number of new extras that offers a few hours of supplemental fare.
