Robert Eggers’ fourth feature film, Nosferatu, has finally hit the screens. The film is a marvel of meticulous craftsmanship, from its exquisite cinematography, lighting, and camera work to the intricate details in costumes, makeup, and the use of the Dacian language. Combined with an incredible cast and Robin Carolan’s stunning music, the 2024 rendition of Nosferatu stands as a true work of art.
Nosferatu’s Literary and Cinematic Roots
In the closing credits, Eggers cites two key inspirations: Henrik Galeen’s screenplay for the 1922 Nosferatu and Bram Stoker’s 1897 gothic novel Dracula. The original 1922 film by German director F.W. Murnau replaced the name “Dracula” with “Nosferatu” to avoid copyright issues. Even the characters’ names and plot details, such as Count Dracula becoming Count Orlok, were altered. Despite these changes, Stoker’s widow sued for plagiarism, delaying the film’s U.S. release until 1929.
Murnau’s Nosferatu became the first feature-length adaptation of Stoker’s novel. However, thanks to Murnau’s unique style and Max Schreck’s bone-chilling performance as Count Orlok, the film carved its own niche, creating a distinct atmosphere unmatched by any Dracula adaptation.
Nosferatu vs. Dracula: A Tale of Two Universes
As Eggers mentioned in an interview, Nosferatu is not just Dracula. While Dracula is often depicted as a suave, aristocratic vampire seducing women, Nosferatu embodies death itself, bringing plague and despair in its wake.
Even visually, Nosferatu’s sinister, grotesque appearance stands in stark contrast to the polished elegance of cinematic Dracula. This dark and unsettling portrayal is rooted in the occult origins of the 1922 Nosferatu.
The Occult Foundations of Nosferatu
While Dracula explores themes of lust and psychological manipulation, Nosferatu weaves its narrative from occult threads. The 1922 production team infused the film with esoteric symbols, alchemical influences, and demonic origins, shaping vampire mythology as we know it today.
Occult Symbolism in the Original Nosferatu
Albin Grau, the film’s producer and production designer, was a member of the Ordo Templi Orientis, an occult organization linked to Aleister Crowley. Grau envisioned Nosferatu as the first in a series of occult-inspired films, embedding mystical elements throughout the story.
- Count Orlok’s role as a plague bearer, accompanied by rats spilling from his coffin, reflects esoteric themes of death and disease.
- The written exchanges between Orlok and his servant Knock are in Enochian, a mystical language created by 16th-century occultists John Dee and Edward Kelley.
- The character Edward Bulwer, named after Edward Bulwer-Lytton, an English occult novelist, echoes the ideas of Paracelsus. Paracelsus theorized that dark thoughts could manifest as astral entities, leading to plagues—a concept vividly portrayed in the Wisborg epidemic.
Ultimately, it’s not science but a blood sacrifice that destroys Count Orlok, emphasizing the film’s deep connection to occult philosophy.
Nosferatu 2024 and the Revival of Vampire Myhtos
Despite nearly a century of vampire films, the 2024 Nosferatu has managed to create a new vampire mythos. It achieves this not by copying vampire films from 5-10 years ago but by delving into the mystical roots of the very first vampire film. This approach also introduces us to a Folk Vampire—a concept deeply tied to revisiting those origins.
When writing his famous novel, Bram Stoker conducted extensive research, drawing heavily from Emily Gerard’s two-volume work The Land Beyond the Forest: Facts, Figures, and Fancies from Transylvania (1888). Who would have believed that Stoker never actually visited Transylvania in his lifetime?!
Much like Stoker’s extensive research for Dracula, Eggers explored every detail, from Count Orlok’s seven-pointed star seal to his use of the Dacian language. This dedication underscores the distinction between urban and folk vampires.
A Perfect Portraying of Ellen Hutter
Lily-Rose Depp delivers a stunning performance as Ellen Hutter (the equivalent of Mina Murray in Stoker’s novel). For her scenes of emotional and physical crisis under Count Orlok’s influence, Depp worked with a movement coach.
Eggers drew inspiration from 19th-century neurologist Jean-Martin Charcot’s studies on hysteria, specifically the “attitudes passionnelles”—poses Charcot documented in his patients. Eggers’ office, adorned with hundreds of books on occultism, also featured Charcot’s photographs, which Depp skillfully replicated on screen.
This nuanced portrayal reflects the overwhelming physical and emotional toll of encountering a vampire, capturing the essence of vampire lore that has long been missing from the silver screen.
Occultism and Vampirism in Eggers’ Nosferatu
Eggers’ research into occultism is evident in every frame of Nosferatu. From the heptagram and Count Orlok’s eerie appearance to the use of Dacian, the film is steeped in mystical details.
The opening prayer sets the tone: “From any celestial sphere, come to me.” This phrase invites not only benevolent entities but also malevolent ones, aligning with Paracelsus’ philosophy of granting substance to negative forces.
Unlike traditional Dracula adaptations, where the vampire pursues a woman after seeing her portrait, Eggers’ Nosferatu takes a darker path, making Count Orlok a harbinger of chaos rather than a romantic predator.
A Testament to Timeless Horror
Eggers’ Nosferatu is not just a film—it’s a love letter to the occult and a masterclass in atmospheric storytelling. By revisiting the mystical roots of vampire mythology, Eggers has created a new vampire myth for our time. Whether it’s the intricate research, the mesmerizing performances, or the haunting visuals, Nosferatu (2024) is a testament to the enduring power of horror and mysticism.
References:
- “Nosferatu (1922): Summary & Analysis.” Jotted Lines, 2018. https://jottedlines.com/nosferatu-1922-summary-analysis/
- Ebert, Roger. “Nosferatu (1922) Movie Review & Film Summary.” RogerEbert.com, 1997. https://www.rogerebert.com/reviews/great-movie-nosferatu-1922
- “Albin Grau.” Wikipedia, https://en.wikipedia.org/wiki/Albin_Grau
- “Aleister Crowley.” Wikipedia, https://en.wikipedia.org/wiki/Aleister_Crowley
- Gerard, Emily. The Land Beyond the Forest: Facts, Figures, and Fancies from Transylvania. Harper & Brothers, 1888. https://archive.org/details/landbeyondforest01gera
- “John Dee.” Wikipedia, https://en.wikipedia.org/wiki/John_Dee
- “Edward Kelley.” Wikipedia, https://en.wikipedia.org/wiki/Edward_Kelley
