Nosferatu: Eine Symphonie des Grauens

***Nosferatu: A Symphony of Horror*** (German: *Nosferatu – Eine Symphonie des Grauens*) is a 1922 silent German Expressionist horror film directed by F. W. Murnau and starring Max Schreck as Count Orlok, a vampire who preys on the wife (Greta Schröder) of his estate agent (Gustav von Wangenheim) and brings the plague to their town.

*Nosferatu* was produced by Prana Film and is an unauthorized and unofficial adaptation of Bram Stoker's 1897 novel *Dracula*. Various names and other details were changed from the novel, including Count Dracula being renamed Count Orlok. Although those changes are often represented as a defense against copyright infringement, the original German intertitles acknowledged *Dracula* as the source. Film historian David Kalat states in his commentary track that since the film was "a low-budget film made by Germans for German audiences... setting it in Germany with German-named characters makes the story more tangible and immediate for German-speaking viewers".

Even with several details altered, Stoker's heirs sued over the adaptation, and a court ruling ordered all copies of the film to be destroyed. However, several prints of *Nosferatu* survived, and the film came to be regarded as an influential masterpiece of cinema and the horror genre.

## Nosferatu: A Symphony of Horror (English)

### Premiere date

March 4, 1922, March 14, 1922 (German cinema premier)

### Runtime

63–94 minutes, depending on version and transfer speed

### Written by

Henrik Galeen (screenwriter), Bram Stoker (author of Dracula, the source material)

## Plot

In 1838, in the fictional German town of Wisborg, Thomas Hutter is sent to Transylvania by his employer, estate agent Herr Knock, to visit a new client, Count Orlok, who plans to buy a house across from Hutter's own home. While embarking on his journey, Hutter stops at an inn in which the locals are frightened by the mere mention of Orlok's name.

Hutter rides on a coach to a castle, where he is welcomed by Count Orlok. When Hutter is eating dinner and accidentally cuts his thumb, Orlok tries to suck the blood out, but his repulsed guest pulls his hand away. Hutter wakes up the morning after to find fresh punctures on his neck, which he attributes to mosquitoes. That night, Orlok signs the documents to purchase the house and notices a photo of Hutter's wife, Ellen, remarking that she has a "lovely neck." Reading a book about vampires that he took from the local inn, Hutter starts to suspect that Orlok is a vampire. With no way to bar the door, he cowers in his room as midnight approaches. The door opens by itself and Orlok enters, and Hutter hides under the bed covers and falls unconscious. Meanwhile, his wife awakens from her sleep and, in a trance, walks onto her balcony's railing, which gets the attention of her friend Harding. When the doctor arrives, she shouts Hutter's name and can apparently see Orlok in his castle who is threatening her unconscious husband.

The next day, Hutter explores the castle, only to retreat back into his room after he finds the coffin in which Orlok is resting dormant in the crypt. Hours later, Orlok piles up coffins on a coach and climbs into the last one before the coach departs, and Hutter rushes home after learning that. The coffins are taken aboard a schooner, where the sailors discover rats in the coffins. All of the ship's crew later die, and Orlok takes control. When the ship arrives in Wisborg, Orlok leaves unobserved, carries one of his coffins and moves into the house that he purchased.

Many deaths in the town follow after Orlok's arrival, which the town's doctors blame on an unspecified plague caused by the rats from the ship. Ellen reads the book that Hutter found; it claims that a vampire can be defeated if a pure-hearted woman distracts the vampire with her beauty and offers him her blood of her own free will. She decides to sacrifice herself. She opens her window to invite Orlok in and pretends to fall ill so that she can send Hutter to fetch Professor Bulwer, a physician. After he leaves, Orlok enters and drinks her blood, but the sun rises, which causes Orlok to vanish in a puff of smoke. Ellen lives just long enough to be embraced by her grief-stricken husband.

The last scene shows Count Orlok's destroyed castle in the Carpathian Mountains.

## Cast

* Max Schreck as Count Orlok
* Gustav von Wangenheim as Thomas Hutter
* Greta Schröder as Ellen Hutter
* Alexander Granach as Knock
* Georg H. Schnell as Shipowner Harding
* Ruth Landshoff as Ruth
* John Gottowt as Professor Bulwer
* Gustav Botz as Professor Sievers
* Max Nemetz as The Captain of The *Empusa*
* Wolfgang Heinz as First Mate of The *Empusa*
* Hardy von Francois [de] as Mental Hospital Doctor
* Albert Venohr [de] as Sailor Two
* Guido Herzfeld as Innkeeper
* Karl Etlinger as Student with Bulwer
* Fanny Schreck as Hospital Nurse

## Themes

*Nosferatu* has been noted for its themes regarding fear of the Other, as well as for possible anti-Semitic undertones, both of which may have been partially derived from the Bram Stoker novel *Dracula*, upon which the film was based. The physical appearance of Count Orlok, with his hooked nose, long claw-like fingernails, and large bald head, has been compared to stereotypical caricatures of Jewish people from the time in which *Nosferatu* was produced. His features have also been compared to those of a rat or a mouse, the former of which Jews were often equated with. Orlok's interest in acquiring property in the German town of Wisborg, a shift in locale from the Stoker novel's London, has also been analyzed as preying on the fears and anxieties of the German public at the time. Professor Tony Magistrale opined that the film's depiction of an "invasion of the German homeland by an outside force poses disquieting parallels to the anti-Semitic atmosphere festering in Northern Europe in 1922."

When the foreign Orlok arrives in Wisborg by ship, he brings with him a swarm of rats which, in a deviation from the source novel, spread the plague throughout the town. This plot element further associates Orlok with rodents and the idea of the "Jew as disease-causing agent". Writer Kevin Jackson has noted that director F. W. Murnau "was friendly with and protective of a number of Jewish men and women" throughout his life, including Jewish actor Alexander Granach, who plays Knock in *Nosferatu*. Additionally, Magistrale wrote that Murnau, being a homosexual, would have been "presumably more sensitive to the persecution of a subgroup inside the larger German society". As such, it has been said that perceived associations between Orlok and anti-Semitic stereotypes are unlikely to have been conscious decisions on the part of Murnau.

## Production

The studio behind *Nosferatu*, Prana Film, was a short-lived silent-era German film studio founded in 1921 by Enrico Dieckmann and occultist artist Albin Grau, named after a Theosophical journal which was itself named for the Hindu concept of *prana*. Although the studio's intent was to produce occult- and supernatural-themed films, *Nosferatu* was its only production, as it declared bankruptcy shortly after the film's release.

Grau claimed he was inspired to shoot a vampire film by a war experience: in Grau's apocryphal tale, during the winter of 1916, a Serbian farmer told him that his father was a vampire and one of the undead.

Diekmann and Grau gave Henrik Galeen, a disciple of Hanns Heinz Ewers, the task to write a screenplay inspired by the *Dracula* novel, although Prana Film had not obtained the film rights. Galeen was an experienced specialist in dark romanticism; he had already worked on *The Student of Prague* (1913), and the screenplay for *The Golem: How He Came into the World* (1920). Galeen set the story in the fictional north German harbour town of Wisborg. He changed the characters' names and added the idea of the vampire bringing the plague to Wisborg via rats on the ship, and left out the Van Helsing vampire hunter character. Galeen's Expressionist style screenplay was poetically rhythmic, without being so dismembered as other books influenced by literary Expressionism, such as those by Carl Mayer. Lotte Eisner described Galeen's screenplay as "*voll Poesie, voll Rhythmus*" ("full of poetry, full of rhythm").

Filming began in July 1921, with exterior shots in Wismar. A take from Marienkirche's tower over Wismar marketplace with the Wasserkunst Wismar served as the establishing shot for the Wisborg scene. Other locations were the Wassertor, the Heiligen-Geist-Kirche yard and the harbour. In Lübeck, the abandoned Salzspeicher served as Nosferatu's new Wisborg house, the one of the churchyards of the Aegidienkirche served as Hutter's, and down the Depenau a procession of coffin bearers bore coffins of supposed plague victims. Many scenes of Lübeck appear in the hunt for *Knock*, who ordered Hutter in the *Yard of Füchting* to meet Count Orlok. Further exterior shots followed in Lauenburg, Rostock and on Sylt. The exteriors of the film set in Transylvania were actually shot on location in northern Slovakia, including the High Tatras, Vrátna dolina, Orava Castle, the Váh River, and Starý Castle. The team filmed interior shots at the JOFA studio in Berlin's Johannisthal locality and further exteriors in the Tegel Forest.

For cost reasons, cameraman Fritz Arno Wagner only had one camera available, and therefore there was only one original negative. The director followed Galeen's screenplay carefully, following handwritten instructions on camera positioning, lighting, and related matters. Nevertheless, Murnau completely rewrote 12 pages of the script, as Galeen's text was missing from the director's working script. This concerned the last scene of the film, in which Ellen sacrifices herself and the vampire dies in the first rays of the sun. Murnau prepared carefully; there were sketches that were to correspond exactly to each filmed scene, and he used a metronome to control the pace of the acting.

## Music

The original score was composed by Hans Erdmann and performed by an orchestra at the film's Berlin premiere. However, most of the score has been lost, and what remains is only a partial adapted suite. Thus, throughout the history of *Nosferatu* screenings, many composers and musicians have written or improvised their own soundtrack to accompany the film. For example, James Bernard, composer of the soundtracks of many Hammer horror films in the late 1950s and 1960s, wrote a score for a reissue. Bernard's score was released in 1997 by Silva Screen Records. A version of Erdmann's original score reconstructed by musicologists and composers Gillian Anderson and James Kessler was released in 1995 by BMG Classics, with several missing sequences composed anew, in an attempt to match Erdmann's style. An earlier reconstruction by German composer Berndt Heller has many additions of unrelated classical works. In 2022, the New York Times wrote about Dutch composer Jozef van Wissem's new score and record release for Nosferatu. Beginning with a solo played on the lute, his performance incorporates electric guitar and distorted recordings of extinct birds, graduating from subtlety to gothic horror. "My soundtrack goes from silence to noise over the course of 90 minutes," he said, culminating in "dense, slow death metal."

## Deviations from the novel

The story of *Nosferatu* is similar to that of *Dracula* and retains the core characters: Jonathan and Mina Harker, Count Dracula, and so on. It omits many of the secondary players, however, such as Arthur and Quincey and changes the names of those who remain. The setting has been transferred from Britain in the 1890s to Germany in 1838.

In contrast to Count Dracula, Orlok does not create other vampires but kills his victims, which causes the townsfolk to blame the plague which ravages the city. Orlok also must sleep by day, as sunlight would kill him, but the original Dracula is weakened only by sunlight. Orlok is also believed to have been created by Belial, the lieutenant demon of Satan, and Count Dracula is revealed to have been a former voivode killed in battle before returning as a vampire. The ending is also substantially different from the *Dracula* novel since the count is ultimately destroyed at sunrisem when the Mina analogue sacrifices herself to him. The town called "Wisborg" in the film is in fact a mix of Wismar and Lübeck; in other versions of the film, the name of the city is changed, for unknown reasons, back to "Bremen".

## Release

Shortly before the premiere, an advertisement campaign was placed in issue #21 of the magazine *Bühne und Film*, with a summary, scene and work photographs, production reports, and essays, including a treatment on vampirism by Albin Grau. *Nosferatu* opened in the Netherlands on 16 February 1922 at the Hague Flora and Olympia cinemas. *Nosferatu* premiered in Germany on 4 March 1922 in the *Marmorsaal* of the Berlin Zoological Garden. This was planned as a large society evening entitled *Das Fest des Nosferatu* (Festival of Nosferatu), and guests were asked to arrive dressed in Biedermeier costume. The German cinema premiere itself took place on 15 March 1922 at Berlin's *Primus-Palast.*

The 1930s sound version *Die zwölfte Stunde – Eine Nacht des Grauens* (*The Twelfth Hour: A Night of Horror*), which is less commonly known, was a completely unauthorized and re-edited version of the film. It was released in Vienna, Austria on 16 May 1930 with sound-on-disc accompaniment and a recomposition of Hans Erdmann's original score by Georg Fiebiger, a German production manager and composer of film music. It had an alternative ending lighter than the original and the characters were renamed again; Count Orlok's name was changed to Prince Wolkoff, Knock became Karsten, Hutter and Ellen became Kundberg and Margitta, and Annie was changed to Maria. This version, of which Murnau was unaware, contained many scenes filmed by Murnau but not previously released. It also contained additional footage not filmed by Murnau but by a cameraman, Günther Krampf, under the direction of Waldemar Roger [de] (also known as Waldemar Ronger), supposedly also a film editor and lab chemist. The name of director F. W. Murnau is no longer mentioned in the credits. This version, lasting approximately 80 minutes, was presented on 5 June 1981 at the Cinémathèque Française.

## Reception and legacy

*Nosferatu* brought Murnau into the public eye, especially when his film *Der brennende Acker* (*The Burning Soil*) was released a few days later. The press reported extensively on *Nosferatu* and its premiere. With the laudatory votes, there was also occasional criticism that the technical perfection and clarity of the images did not fit the horror theme. The *Filmkurier* of 6 March 1922 said that the vampire appeared too corporeal and brightly lit to appear genuinely scary. Hans Wollenberg described the film in *photo-Stage* No. 11 of 11 March 1922 as a "sensation" and praised Murnau's nature shots as "mood-creating elements." In the *Vossische Zeitung* of 7 March 1922, *Nosferatu* was praised for its visual style.

*Nosferatu* was also the first film to show a vampire dying from exposure to sunlight. Previous vampire novels such as *Dracula* had shown them being uncomfortable with sunlight, but not undeath-threateningly so.

The film has received overwhelmingly positive reviews. On review aggregator website Rotten Tomatoes, the film holds an approval rating of 97% based on 63 reviews, with an average rating of 9.05/10. The website's critical consensus reads, "One of the silent era's most influential masterpieces, *Nosferatu*'s eerie, gothic feel—and a chilling performance from Max Schreck as the vampire—set the template for the horror films that followed." In 1995, the Vatican included *Nosferatu* on a list of 45 important films that people should watch. It was ranked twenty-first in *Empire* magazine's "The 100 Best Films of World Cinema" in 2010.

In 1997, critic Roger Ebert added *Nosferatu* to his list of *The Great Movies*, writing:

> Here is the story of Dracula before it was buried alive in clichés, jokes, TV skits, cartoons and more than 30 other films. The film is in awe of its material. It seems to really believe in vampires. ...Is Murnau's *Nosferatu* scary in the modern sense? Not for me. I admire it more for its artistry and ideas, its atmosphere and images, than for its ability to manipulate my emotions like a skillful modern horror film. It knows none of the later tricks of the trade, like sudden threats that pop in from the side of the screen. But *Nosferatu* remains effective: It doesn't scare us, but it haunts us.
>
>

In 1993, the 15th episode of the Nickelodeon series *Are You Afraid of the Dark?* featured a "special" screening of *Nosferatu.* After the screening, Count Orlok emerges from the screen into the real world and begins stalking victims in the theater.

The 2000 film *Shadow of the Vampire* is a fictionalized take on the making of *Nosferatu*.

In 2022 an exhibition *Phantoms of the Night. 100 Years of "Nosferatu"* opens in Berlin.

The short movie *F.W.M. Symphony* released in late 2022 is a homage to *Nosferatu,* and also depicts the theft of Murnau's skull from his family tomb in 2015.

## Home video and copyright status

*Nosferatu* only entered the public domain worldwide by the end of 2019. This led to the widespread distribution of a sped-up, unrestored black and white bootleg copy. Beginning in 1981, the film has had various different official restorations, several of which have been issued on home video in the U.S., Europe and Australia. These versions, which are all tinted, speed-corrected and have specially recorded scores, are separately copyrighted with respect to new copyrightable elements.

## Remakes

A 1979 remake by director Werner Herzog, *Nosferatu the Vampyre*, starred Klaus Kinski (as Count Dracula, not Count Orlok).

A remake by director David Lee Fisher was in development after being successfully funded on Kickstarter on 3 December 2014. On 13 April 2016, it was reported that Doug Jones had been cast as Count Orlok in the film and that filming had begun. The film would use green screen to insert colorized backgrounds from the original film atop live-action, a process Fisher previously used for his remake *The Cabinet of Dr. Caligari* (2005). As of 2023, this version remains unreleased, with the last update coming from Jones in 2020.

In July 2015, another remake was announced with Robert Eggers writing and directing. The film was intended to be produced by Jay Van Hoy and Lars Knudsen for Studio 8. In November 2016, Eggers expressed surprise that the *Nosferatu* remake was going to be his second film, saying "It feels ugly and blasphemous and egomaniacal and disgusting for a filmmaker in my place to do *Nosferatu* next. I was really planning on waiting a while, but that's how fate shook out." In 2017, it was announced that Anya Taylor-Joy would be featured in the film in an unknown role. However, in a 2019 interview, Eggers claimed that he was unsure as to whether the film would still be made, saying "...But also, I don't know, maybe *Nosferatu* doesn't need to be made again, even though I've spent so much time on that." It was reported in September 2022 that Eggers' remake would be distributed by Focus Features, with Bill Skarsgård set to star as Orlok and Lily-Rose Depp as Ellen Hutter. The film wrapped principal photography on May 19, 2023.