SHADOW OF THE VAMPIRE
UK/US, 2000, 92 minutes, Colour.
John Malkovich, Willem Dafoe, Udo Kier, Cary Elwes, Catherine Mc Cormack, Eddie Izzard, Aiden Gillett.
Directed by E. Elias Merhige.
A real oddity - and very enjoyable for movie buffs. It's a 'what if...?' of movie history. F.W.Murneau's Nosferatu was the first adaptation of Bram Stoker's Dracula (with names changed because the Stoker estate would not give authorisations) in 1922, now viewed as a classic of Expressionist German silent cinema. The what if...? is what if Max Shreck, the actor portraying Count Orlock (the substitute name for Dracula), were in reality a vampire? John Malkovich portrays Murneau. He has done a deal with Shreck: that he can have the cantankerous heroine when the film is made. Actually, Murneau is vampiric in his sucking out his performances from his cast and crew. But Willem Dafoe as Shreck (practically unrecognisable) almost makes you believe that this is what happened.
The film is a prolonged single joke but staged imaginatively and with some grandeur, enabling the audience to experience early styles of film-making as well as the intensity of vision of obsessives like Murneau.
1. An entertaining film? Horror film? Film about silent film-making?
2. The title, the reference to Dracula, Nosferatu? The background of the making of the 1922 Nosferatu by F. W. Murneau and the performance by Max Schreck? The background of Bram Stoker's estate refusing to sell the rights of the Dracula story to Murneau? His changing the title to Nosferatu with Count Orlock but using the same story?
3. The colour photography, the recreation of the studios of 1922, Berlin, train journeys, the Czech locations? The black and white photography recreating the film?
4. The scenes recreating the original film, seeing the background, the direction, the writing? Performance? The recreation of film-making and the insight into the methods, personalities, style, accidents of filming?
5. The film as a conceit: what if Max Schreck were really a vampire? That Murneau knew of this? That he made a deal with Schreck that he could have the obstreperous heroine at the end of the film? The film-maker's treating it as if it were the reality? Audiences believing that this could have been possible?
6. John Malkovich’s portrayal of Murneau: his background, his collaboration with the producer, with the writer, with the cinematographer? The cinematographer becoming ill and his finding the substitute in Wagner? His dealing with the stars, with Greta and her moods and drug-taking? His eye for performance, his eye for visual detail? Seeing and hearing him direct? Capturing moments? His dealings with Schreck, the mystery, going to Czechoslovakia, to the inn? His discussions with Schreck, the deal, reprimanding him, getting a performance from him? The end and his continuing filming after the death of his producer as well as of other members of the crew and of Greta? His subsequent career? Insight into an obsessive director of genius?
7. The build-up to the appearance of Schreck, the mystery of his identity, working with Max Reinhardt Company? Going to Czechoslovakia, the information about his performing only at night? His method, immersing himself in the role? The first visuals? Willem Dafoe's clever impersonation of Schreck, his performance within the film? His appearance, fingernails, wizened face? The living vampire? His appearing on set, his breathing, snarling? The sequences for the film and the exact parallel with the original? His contract with Murneau, drawing on it, his being tantalised by blood, unable to resist? The cinematographer? The scratching of the hero, sucking his blood on screen? His wanting to meet Greta? Murneau and his having to reprimand Schreck? His living the part, his presence, interactions with the company, keeping aloof, staying in the castle? The build-up to the finale, Greta's arrival, her tantrums? His seemingly vampirising her on screen, Murneau continuing to film?
8. The cast, Gustav and his performance, his following direction, indicating how a silent star worked? Off camera, his reaction to the process, his ordinary life, the relationship with Greta? The other members of the cast? Greta, her wanting to be on stage, her tantrums, her arrival, rehearsal? The laudanum? The performance of the final scene, Schreck and his biting her neck?
9. The producer, insight into the problems of producing, financing, organising the shooting for the day, the travel to Czechoslovakia_? His relationship with Murneau, supportive? Schreck and his killing him? The cinematographers and their skill? Wagner and his coming from Africa, his taking over, the relationship with Greta, her disdain? His being attacked by Schreck?
10. The people in Czechoslovakia, the inn, superstitions, the people as extras, the landlady coming into the scene and wanting the film-makers out?
11. Audience familiarity with the Dracula story, the nature of vampires, his planning to move, the trip, the property, the boat - and Schreck's not wanting to film because of fear of being on the boat, and their building a model? The attraction of the women, the blood? The Living Dead?
12. The entertainment value of the film for the ordinary audience? For film buffs who know the characters, the styles of film-making, the ironic implications of the screenplay?
