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Nosferatu (1922) [Masters of Cinema #64] [Repost]

Posted By: ETRU
Nosferatu (1922) [Masters of Cinema #64] [Repost]

Nosferatu (1922)
A Film by F.W. Murnau
DVD9 + DVD5 | VIDEO_TS | PAL 4:3 | Scans (5 JPGs) | 6,49 Gb + 3,43 Gb
Musical Score AC3 5.1 @ 448 Kbps with German intertitles and English subtitles
Genre: Fantasy, Horror, Mystery | Masters of Cinema #64

An iconic film of the German expressionist cinema, and one of the most famous of all silent movies, F. W. Murnau’s Nosferatu: A Symphony of Horror continues to haunt — and, indeed, terrify — modern audiences with the unshakable power of its images. By teasing a host of occult atmospherics out of dilapidated set-pieces and innocuous real-world locations alike, Murnau captured on celluloid the deeply-rooted elements of a waking nightmare, and launched the signature “Murnau-style” that would change cinema history forever.

In this first-ever screen adaptation of Bram Stoker’s Dracula, a simple real-estate transaction leads an intrepid businessman deep into the superstitious heart of Transylvania. There he encounters the otherworldly Count Orlok — portrayed by the legendary Max Schreck, in a performance the very backstory of which has spawned its own mythology — who soon after embarks upon a cross-continental voyage to take up residence in a distant new land… and establish his ambiguous dominion. As to whether the count’s campaign against the plague-wracked populace erupts from satanic decree, erotic compulsion, or the simple impulse of survival — that remains, perhaps, the greatest mystery of all in this film that’s like a blackout…

Remade by Werner Herzog in 1979 (and inspiring films as diverse as Abel Ferrara’s King of New York and The Addiction, and E. Elias Merhige’s Shadow of the Vampire), F. W. Murnau’s surreal 1922 cine-fable remains the original and landmark entry in the entire global tradition of “the horror film”. The Masters of Cinema Series is proud to present, at long last, Nosferatu: A Symphony of Horror in its definitive restoration, complete with original intertitles and accompanied by the score that played with the film at the time of its initial release.


F.W. Murnau's NOSFERATU, which is subtitled "A Symphony of Horror," is a stylish (albeit unauthorized) silent version of Bram Stoker's "Dracula," starring the incomparably creepy Max Schreck as the Vampire.

Nosferatu (1922) [Masters of Cinema #64] [Repost]

In 19th-century Germany, young real estate clerk Thomas Hutter (Gustav von Wangenheim) is told by his boss, Knock (Alexander Granach), that Count Orlok wants to buy a house in their town and wishes for Hutter to travel to his castle in Transylvania to close the deal. Hutter tells his wife, Ellen (Greta Schroder), that he may be away for several months, and begins his journey. When he stops at an inn for the night and tells the patrons that he is traveling to meet Count Orlok, they react with horror and tell him not to go out at night. In his room, he sees a book about vampires, which warns against saying the name "Nosferatu" (meaning "The Undead") aloud, but pays it no heed. As he approaches Orlok's castle, the driver of his carriage stops and refuses to go any further. Hutter walks across the bridge and is met by another carriage, which takes him to the castle. After meeting the frightening looking Orlok (Max Schreck), Hutter becomes increasingly alarmed by his host's bizarre behavior, which includes trying to lick Hutter's finger after he accidentally cuts himself, and becomes ill after noticing two marks on his neck, which he reads in the vampire book are similar to bites from a vampire.

Nosferatu (1922) [Masters of Cinema #64] [Repost]

Orlok agrees to buy the deserted building across from Hutter's house in Germany and locks Hutter in his castle. Hutter sees Orlok loading coffins filled with rats and earth as he prepares to leave, then gets in one and is taken to a ship. During the sea voyage, the rats swarm all over the ship and the entire crew becomes ill and they gradually all die. Hutter escapes from Orlok's castle and tries to get back home, while Knock, who is now insane and locked in an asylum, anxiously awaits Orlok. When he arrives, a plague sweeps through the town, causing countless deaths. Hutter finally returns to Germany and is reunited with Ellen, but he is sick and tells her that Orlok is a vampire. Ellen reads that a vampire can be destroyed if a woman who is pure in heart makes him stay awake past the sunrise. That night, she seduces Orlok and sacrifices herself, allowing him to bite her, but causing his demise when he is struck by the morning sunlight.

Nosferatu (1922) [Masters of Cinema #64] [Repost]

NOSFERATU is the granddaddy of all vampire films, but since it was clearly based on Stoker's novel (with the character names changed) without permission, lawyers from his estate kept it out of America for seven years. It's a truly horrifying and scary film, but it's also frequently poetic and beautiful, using real locations and a naturalistic style to create an overpowering atmosphere of evil. Unlike Murnau's later films, which employed a sensually moving camera and extremely stylized expressionistic sets, NOSFERATU relies mostly on stark, static compositions, and cinematic tricks, such as jump cuts, sped-up action, stop-motion, negative images, and double-exposures, to show such things as carriages speeding through the night, doors and caskets opening and closing by themselves, and Orlok magically appearing and disappearing, or rising straight up out of his coffin. Murnau creates a visceral sense of fear and menace through the accumulation of subtle details–a cuckoo clock with a skeleton that rings the bell; horses being scared away when they sense the presence of Orlok; and the magnificent use of shadows, depicting Orlok's huge, claw-like hands and pointed head as they descend upon a victim. With his tall, gaunt figure, bald head, hunched-shoulders, long, crooked fingers, sharp teeth, bushy-eyebrows, and pale skin, Max Schreck is so hideously ugly and terrifying as Orlok, that it's hard to think of him as an actor–one believes that he truly is a bloodsucking vampire. The finale is particularly stunning, giving the impression that we are actually watching a real demonic ritual, as Orlok finishes biting Ellen's neck and then slowly looks up with blood on his mouth, realizing that the sun has risen. He stands in front of the window as rays from the sun strike his body, and he dissolves into a puff of smoke. In the scores of vampire films that have followed NOSFERATU in the subsequent decades, none have been able to match its physical beauty, its intensity of vision, or its grasp of true evil.
Nosferatu (1922) [Masters of Cinema #64] [Repost]

Murnau (1888-1931) made 22 films but is known mostly for three masterpieces: "Nosferatu"; "The Last Laugh" (1924), with Emil Jannings as a hotel doorman devastated by the loss of his job, and "Sunrise'' (1927), which won Janet Gaynor an Oscar for her work as a woman whose husband considers murdering her. The worldwide success of "Nosferatu" and "The Last Laugh" won Murnau a Hollywood contract with Fox, and he moved to America in 1926. His last film was "Tabu" (1931); he was killed in a car crash on the Pacific Coast Highway just before its premiere, his promising career cut short at 43.

Nosferatu (1922) [Masters of Cinema #64] [Repost]

If he had lived, the rest of his career would have been spent making sound films. He probably would have made some great ones. But with a silent like "The Last Laugh," he famously did not require a single title card to tell his story. And "Nosferatu" is more effective for being silent. It is commonplace to say that silent films are more "dreamlike," but what does that mean? In "Nosferatu," it means that the characters are confronted with alarming images and denied the freedom to talk them away. There is no repartee in nightmares. Human speech dissipates the shadows and makes a room seem normal. Those things that live only at night do not need to talk, for their victims are asleep, waiting.
Excerpt from Rober Ebert's Review
Nosferatu (1922) [Masters of Cinema #64] [Repost]

SPECIAL EDITION 2 x DISC SET:
• The officially licenced 2007 restoration by F. W. Murnau-Stiftung and Luciano Berriatúa featuring the original Hans Erdmann score — previously unheard for over 85 years — and the original German intertitles.
• Full-length exclusive commentary track by silent film historian and bookseller R. Dixon Smith with freelance film critic Brad Stevens.
• The Language of Shadows — a 53-minute German documentary by Luciano Berriatúa about Murnau and the making of Nosferatu complete with fascinating footage of the film’s locations today.
• Restoration demonstration
Nosferatu (1922) [Masters of Cinema #64] [Repost]

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