The former is widely celebrated as a seminal piece of Gothic literature, that defined the archetypal vampire. The 1922 film did not disappoint, it embraced an overwhelmingly positive reception from both audiences and critics alike. Unsurprisingly, when Robert Eggers took on the daunting challenge of remaking the film in the face of a formidable legacy, there was immense pressure.
The film is steeped in well-crafted Gothic cinematography. Monochromatic shadow-laden scenes and misty landscapes flooded the movie, embodying the Gothic aesthetic synonymous with the vampire genre. The young Ellen Hunter, portrayed by Lilly-Rose Depp, waltzes around in the shadows, dazed in her billowing white nightgown. From the Victorian streets of the German town of Wisburg to looming castles in Transylvania, the Gothic atmosphere permeates every frame. The visuals were a highlight of the movie.
However, the visuals did not disguise the long-winded plot and lack of imagination. Eggers's choices throughout the film lack ambition or creativity, rather they fall victim into the same tired clichés that plague so many vampire films.
Count Orlok's voice was annoying. The vision was there however the execution was not. His monologues became drawn out and excessively longwinded, and I found that it lost my attention and my mind was wandering elsewhere. Although intended to be suspenseful, they just slow down the momentum of the film. His monologues, likely intended to be haunting and thought-provoking, instead became tedious and overextended, losing their impact entirely. The excessive length of these scenes drained the narrative of its tension, making it difficult to remain engaged.
Ultimately, the film relies too heavily on well-trodden elements of the genre without injecting new life or perspective. Unlike Eggers's previous films, such as 2019 The Lighthouse or his 2015 debut The Witch, Nosferatu is just fine. The remake lacks the vision it demands and simply becomes predictable.