F.W.Murnau
Nosferatu - Il Vampiro

I've watched this movie for the billionth time, one of my absolute favorite films. A timeless masterpiece, a milestone, a sacred monument in the world of the seventh art. In 1922, F.W. Murnau created his most famous masterpiece, the film that would immortalize two legendary names: the first being Murnau himself, the second Max Schreck. But let's go in order, because there is really a lot to say here.

BEFORE THE CREATION

Murnau was hopelessly in love with Stoker's masterpiece "Dracula," so much so that he wanted at all costs to make a film about that damned yet fascinating character. This would become the first film about "Dracula," and under the direction of a master, it would emerge as a masterpiece at the very least. However, Stoker's heirs were not at all in agreement with the idea of the great director and consequently did not grant the rights to legally make the film. Officially, therefore, Murnau could not shoot "his" "Dracula." From a legal point of view, it was not possible, but to Murnau, none of this mattered; he decided to make his film anyway, altering the elements slightly, Count Dracula became Count Orlok, additional figures like Hutter, Ellen, Knock... in short, Murnau did everything to "disguise" his initial idea as much as possible. The choice of actors was fairly easy, but it was easy until it came to choosing the actor who was to play Count Orlok, and this is where the legend begins.

MAX SCHRECK THE VAMPIRE

Murnau chose someone to play Count Orlok, a certain Max Schreck. But who was Max Schreck? Why was and is there still so much mystery surrounding this name? The reason is simple and unsettling at the same time. Max Schreck was a vampire, a real vampire; at least that's what the legend says, a legend so "felt" that many years later a film was made entitled "Shadow of the Vampire" which practically asserts that Schreck was indeed a vampire. It's said that no one on set ever saw Schreck without makeup; he would appear suddenly and when he appeared, everyone was terrified. During breaks, he would either disappear suddenly, or someone would see him in some dark corner of the set. Just analyze the name, Max Schreck, Max (Maximum) Schreck (Terror)... Maximum Terror, a more "appropriate" name for such a figure was impossible to give! According to legend, Murnau found this "vampire" somewhere lost in the world and convinced him to make this film in exchange for a good deal of blood, vampires feed on blood as we all know... very likely, in the final scene Schreck was indeed sucking the blood of poor Ellen. This is the legend of Max Schreck, in recent years it has emerged that between the twenties and thirties, there was indeed a Max Schreck, a theater actor, and from the few found photos, there seems to be a distant resemblance. No certainty, most probably Max Schreck was indeed "just" a theater actor... but do you know what the scary thing is? A saying... in every legend, there is always a grain of truth!

DURING THE CREATION

As I wrote, during the making of the film a strange and unsettling atmosphere hovered over the set, especially when Schreck was present. Being a film from 1922, there is little information and few documents that testify to what really happened and how things really went. In any case, Murnau shot the film with absolute mastery, every single scene is absolutely perfect, the play of light and shadow is fundamental for this film, a fundamental characteristic of an extremely important film movement... that is, German Expressionist cinema. The main works of German Expressionist cinema are undoubtedly "Nosferatu", "The Cabinet of Dr. Caligari", "Metropolis", "Faust", "The Golem". The film is remembered beyond Schreck's masterly performance, also for some scenes that rightfully entered the history of cinema. It's impossible to forget the shadow of Count Orlok climbing the stairs, at that moment time stops, a scene that becomes more than a scene, a true symbol for the world of the seventh art. The whole moment that takes place on the ship, a moment in the film composed of scenes that have such visual power that they still amaze anyone today. Finding flaws in "Nosferatu" is impossible, a film you can watch every day and it's as if you're seeing it for the first time, you'll always find new details, it's incredible. Murnau did extraordinary work regarding the psychological side of each character: Hutter is the good boy, eager for a rosy future with his partner. Ellen seems to have sensory abilities, as she immediately senses that Hutter is heading towards something damned. Orlok is the pure evil, filth, rot, curse, the devil. It's no coincidence that with his arrival in Hutter's village, the plague also arrives; Orlok doesn't sow death by just sucking people's blood, but also through other means, like the plague. Murnau incredibly creates such a sick and sinister atmosphere that we (the spectators) can almost breathe it, we live the nightmare those characters are living, we feel Orlok behind us, at least I always get this feeling when I watch the film.

END OF CREATION

Murnau completed his film, Schreck disappeared into thin air and left the set shrouded in mystery. The film was shown and was a success but shortly afterward, there was the immediate withdrawal and a legal case against Murnau. Stoker's heirs realized very well that "Nosferatu" was nothing but "Dracula," consequently Murnau lost the case. Not only did he lose the case, but an order was given to burn all existing copies of the film. Somehow... Murnau managed to hide and save at least one copy of the film... and it is thanks to this "miracle" that we can now see and enjoy this absolute masterpiece.

I have talked about this film with ignorant people, with experts, with professors, with critics, with everyone... everyone agrees on one thing... Absolute masterpiece. Here it's not about being a fan or not being a fan... here it's about tipping your hat to a work of art that knows no rivals. All the "Dracula" films that will come later cannot even come close to the beauty and success of Murnau's film. Directors like Browning, Coppola, Fisher (who have made films about Dracula) have tried and made beautiful films, but they cannot reach Murnau's film, and no one ever will. Some works are unattainable, take Beethoven's ninth, what musical work can match it? And I'm not the one saying these things, these are things said by people who have a cinematographic and musical culture that is frightening! I fully agree with them and therefore I took the liberty to write it in this small review of mine. Then perhaps it will come out that this review "adds nothing new"... but it is normal that this review adds nothing new, what can you add to a film that has been discussed, reviewed, analyzed, studied for almost a hundred years... what more can be said. Perhaps that "more" you can hear from some art critic, but certainly not from me. Maybe among you, there is someone who is able to say something that has never been said about this film, I can't know that...!

In any case, here it's not even about advising (because it's clear that you must see it and review it and re-review it, actually always) I don't even have to say that it is a masterpiece and all those things because it's obvious. I simply wanted to talk about it... because I felt like doing it. If this writing can be worth anything, then I hope it is read by young people, in the hope that they get curious and maybe go see the film, I'm sure that in the dark with the right atmosphere Orlok will still be able today, almost a hundred years later, to give chills even to those who have seen it all. I've finished.

VinnySparrow