This wonderful illustration is from Dennison’s Bogie Book, a book of Halloween decoration and party ideas that seems to have been published every year, with updates I presume. This comes from the 1925 edition–isn’t it priceless? Here’s another illustration:
To celebrate this spooky holiday, here’s a roundup of all my Halloween-inspired posts from the past. Counting my posts from this month, this includes the films: Continue reading →
Why do we hold such reverence for Nosferatu? Why does a film with such simple special effects and occasionally humorous acting linger in our minds? Why, when Hollywood offers a wealth of svelte–even sexy–vampires, do we keep turning to the gaunt, bushy eyebrowed Count Orlok with his protruding rat teeth?
It must be more than simple curiosity to see one of our earliest vampire films, although that’s probably a big factor for many. According to some of my non-silents-accustomed friends, its style and film speed can make it effectively creepy. That said, I’ll admit that plenty of people find it hysterical. Continue reading →
To be unable to grow old is terrible… Death is not the worst… Can you imagine enduring centuries, experiencing each day the same futilities…
My favorite vampire film of all time happens to be an homage to film history’s most significant vampire film of all time. You could call it a remake, but the word doesn’t fit…”homage” is far more appropriate. And to use another appropriate word, it’s deeply haunting: Werner Herzog’s Nosferatu: Phantom der Nacht (1979).
On this day, 136 years ago, an actor was born who would one day embody the idea of brooding, creeping, sinister evil in a way that no film actor ever had before–or arguably ever did since. His last name even translates to “terror”–I kid you not (get thee to Google Translate!). Here’s a brief overview of the life of this remarkable presence: Continue reading →
You run into it time and time again when reading about film history: “German Expressionism, German Expressionism.” It pops up even more than “French New Wave,” another term that tends to make people’s eyes glaze over. Silent newbies and casual fans probably wonder: just what exactly was this movement that all the film historians go nuts for?
To answer that, we have to glance through a little art history, learn a bit of theater history, reflect on WWI and Germany, and get acquainted with how “the ghosts which haunted the German Romantics had revived, like the shades of Hades after draughts of blood.”
Or something like that. Bear with me, for there’s a lot of pieces to put together to get a good picture of German Expressionism. Continue reading →