Shadows on the Wall

Nosferatu

Review by Rich Cline | MUST SEE

dir-scr Robert Eggers
prd Chris Columbus, Eleanor Columbus, Robert Eggers, John Graham, Jeff Robinov
with Bill Skarsgard, Nicholas Hoult, Lily-Rose Depp, Emma Corrin, Aaron Taylor-Johnson, Willem Dafoe, Ralph Ineson, Simon McBurney, Stacy Thunes, Paul A Maynard, Gregory Gudgeon, Roman Bloodworth
release US 25.Dec.24,
UK 1.Jan.25
24/Czechia Focus 2h12

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Once again mixing history and folklore into gothic horror, filmmaker Robert Eggers remakes Murnau's 1922 masterpiece as a stylish freakout. With nods to Shelly and Dickens, the film is packed with unexpected detail and grisly violence, creating an epic-sized exploration of belief as echoed in darker urges and inexplicable situations. Draining colour from the screen feels unnecessary, but the imagery is eye-catching, and the nastiness hits us in the gut.

In 1738 Germany, Thomas (Hoult) is sent by his boss Knock (McBurney) to conduct some property business in Romania. His new wife Ellen (Depp) isn't happy about being left behind, turning to friends Anna and Friedrich (Corrin and Taylor-Johnson) for company. Meanwhile, Thomas finds himself surrounded by frightening beliefs in the Transylvanian mountains, and when he meets Count Orlok (Skarsgard), things get even scarier. Now Orlok is on his way to Germany with an army of plague-ridden rats. And his ultimate target is Ellen, whom he has been grooming since she was a young girl.

Much of the story takes place in sumptuous nighttime, lit only by candles and torches, with colour emerging in sunlight. The plot unfolds with a steady stream of startling twists, as Friedrich consults a doctor (Ineson) when Ellen falls into a daze, then they turn to a professor (Dafoe) who knows a thing or two about the vampiric myth of Nosferatu. This leads to a series of outrageous confrontations that enjoyably keep our heads spinning, especially as things get seriously icky.

Skarsgard is superbly overpowering as Orlok, combining imposing physicality with a roaring voice. Plus grotesque full-body makeup. He also maintains an eerie underlying yearning that continually takes us aback, especially in his scenes with the terrific Depp's haunted Ellen. Nicely grounding the film, Hoult has the earthiest role as a man desperate to save his young marriage, while Taylor-Johnson and Corrin add strong textures, as do Dafoe and McBurney in quirkier roles.

Eggers skilfully works social themes into his films, and religion is once again prominent, as characters respond to events by either dismissing superstitions or fully believing a demon has descended on their town. Their have faith in the medical knowledge of the day adds more angles, and it's refreshing that the film never pushes these ideas, merely allowing them too be part of the landscape, which forces us to think fairly deeply even as hideous things keep jolting us. Yes, it's a lot of horrific fun, and the sense of relief when it's over is huge.

themes, violence, sexuality 7.Nov.24

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