I am fascinated by the vampire legend. It is a rich vein for artists to draw upon. The first vampire film, and quite possibly the best, is Murnau's Nosferatu. Bram Stoker's Dracula is laid before us in all but name. But the stunning visual imagery of Murnau's Expressionist film has not been taken up by other film-makers doing their versions of the Count. Except here. Herzog is clearly doing a re-make of Murnau's film rather than another vampire/Dracula interpretation.
As such Herzog concentrates on the visual. Dialogue is reduced - simple lines that would look good on a silent film dialogue card. Mood and atmosphere and pace are the key elements he is exploring. The effect is much like a minor classical piece of music or a Dutch landscape painting. There is much to admire but little to excite - and flaws are obvious.
Some scenes are stunning - the ship docking by itself with the dead captain tied to the wheel; Lucy's view through the mirror of the shadow of the count arriving in her bedroom; lines of coffins moving slowly through the streets of Wismar. Yet, despite these moments of visual splendor, and an interesting performance of the fingers by Kinski, this film does invite comparison with the original and fails badly.
As such Herzog concentrates on the visual. Dialogue is reduced - simple lines that would look good on a silent film dialogue card. Mood and atmosphere and pace are the key elements he is exploring. The effect is much like a minor classical piece of music or a Dutch landscape painting. There is much to admire but little to excite - and flaws are obvious.
Some scenes are stunning - the ship docking by itself with the dead captain tied to the wheel; Lucy's view through the mirror of the shadow of the count arriving in her bedroom; lines of coffins moving slowly through the streets of Wismar. Yet, despite these moments of visual splendor, and an interesting performance of the fingers by Kinski, this film does invite comparison with the original and fails badly.