Mesmeric...entrancing...and boring!

It's an unfortunate fact that remakes have been commissioned for decades. Back in 1979 Werner Herzog set out to remake the unauthorised 1922 Dracula adaptation Nosferatu, which was directed by F.W. Murnau. The original 1922 silent movie will forever remain an essentially flawless horror classic. When Herzog decided to remake Murnau's masterpiece, it's obvious that he made a creative decision to stay more faithful to the source material written by Bram Stoker in the late 19th century. Originally, Murnau desired to make a cinematic version of Stoker's novel. However, due to copyright reasons, he was unable to fulfil this desire. Instead he made "cosmetic" changes to the novel (mainly changing the title from Dracula to Nosferatu) while keeping the original concept and essential series of events identical to the source material.

Herzog's remake is a courteous re-imagining of Murnau's early silent picture. This remake is neither scary nor brutal as most vampire-oriented horror pictures tended to be in later years. Herzog's movie is instead moody, mesmeric, and entrancing: it's inexorably sinister and spellbinding as the vampiric Transylvanian fiend spreads corruption and pestilence, fundamentally generating a pervading atmosphere of malevolence as opposed to outright horror thrills. Imagery of the town devastated by an unknown plague town is particularly memorable. However, Herzog's filmmaking techniques strictly fall into the category of "art house" and certainly won't be liked by all.

The film's plot remains faithful to its film forerunner as well as the original novel. Jonathan Harker (Ganz) works for a local real estate agency. Harker's employer sends him on an errand to stitch up a property deal with the enigmatically frightening Count Dracula (Kinski) who resides in the mysterious Transylvanian mountains. During Harker's expedition to Transylvania he discovers that the locals hearing the name Dracula is enough to build up anxiety, fear and trepidation. The locals are so terrified of Dracula's castle that no-one agrees to help him reach his desired destination. However, due to the promise of a substantial pay-check, Harker doesn't give up as he travels through the baffling, mesmerising landscape. Count Dracula transpires to be a bald man with a perplexingly disturbing personality underneath. Dracula is a man who perks up at the sight of blood...and at the sight of a photograph depicting Harker's striking wife Lucy (Adjani). Harker is left weakened and sapped of a lot of blood while Dracula sets forth for his new residence in search of Lucy. Dracula brings with him plague and death.

Werner Herzog's Nosferatu the Vampyre is slow-paced and a seemingly cumbersome film. This rendering of the classic vampire tale is simply one of the most stylish in existence. Herzog filmed his version across dazzling, extraordinary landscapes throughout Europe. The visuals also benefit from superb production design and excellent cinematography...everything is quite a treat to view. However there are countless flaws to also point out. Dramatically the film is exceedingly boring, as the slow pace is accompanied by mannered acting all-round. Perhaps this was intended to provide a dream-like quality to the proceedings, and in some ways it is quite successful. The stilted, unimaginative dialogue also drags the production down.

Klaus Kinski is an interesting embodiment of the Dracula character. Kinski portrays Dracula quite similarly to the Max Schreck depiction in 1922. His appearance is cadaverous, ghastly and almost rodent-like. His features are extremely distinguished, especially during dialogue or horror scene. Kinski is duly creepy and endows his portrayal with additional sympathy. He is what he is and can't help it, and it's palpable that he feels sorry for himself. He is a melancholy creature, discontented with his perpetually despondent condition yet unable to do anything about it. Nosferatu the Vampyre is a competent, atmospheric remake that has been regarded as one of the most faithful Dracula adaptations of all time. But, considering the quality of Murnau's masterwork, it isn't overly necessary.

6.2/10