Nosferatu (1922) fans such as myself (and, hopefully, yourself) are highly aware of its iconic status, its gothic cinematography, and its limitless ways to inspire today’s filmmakers. It may not be as jump-out-of-your-seat scary as some later horror films, but we highly appreciate how it broke ground and managed to create a beautifully haunting atmosphere.
Oh, and we’re also well aware of this guy:
This acquired taste in human form is Gustav von Wangenheim, the source of a few unintentional chuckles in the early scenes of the movie. But maybe that’s a little harsh. As I wrote in my Nosferatu review, Gustav’s babyface and habit of laughing just a little too long actually make his later scenes with Count Orlok pretty effective–if a character that happy-go-lucky starts getting scared, it must be for a good reason.
In fact, his acting left enough of an impression that I decided to take a closer look at this young actor. How did he come to star in Nosferatu, and what happened to him thereafter?
FOR IMMEDIATE RELEASE: It has come to our attention that many in the classic film community–of which the silent film community is a small yet passionate subset–have been somewhat misinformed about a particular character trope of the early 20th century.
Namely, that upon viewing certain 1920s films with the promise of having “vampires” in their plots, the said movie watching experiences don’t appear to reveal any bloodsucking, cape-wearing, pasty-faced monsters from the grave.
This prompts various IMDb reviews to say: “So there’s definitely no vampires in this movie…” or, “The gal in this film was a piece of work, but definitely not a vampire.”
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 →
Man, I couldn’t help cringing while writing the title of this post–because from that alone, this film sounds so cool. This is a vampire tale? From the year 1920? And it’s a German Expressionist film, you say? By Robert Wiene, the director of The Cabinet of Dr. Caligari, you say?! This must be a forgotten gem!! An obscure work of genius, just begging to be rediscovered by eager new audiences and then extolled as one of the unsung masterpieces of early experimental cinema!!
HOLY FREAKIN’ HARRY LANGDON, LOOK AT THAT ART DESIGN!!
Well, I’m here to confirm that it’s………..not. It’s just not. It’s not any of those things. Well, okay, it is a German Expressionist film from 1920 directed by Robert Wiene, but a cinematic masterpiece? Oh good heavens, no. Continue reading →