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Nosferatu: Phantom der Nacht

Originaltitel: Nosferatu - Phantom der Nacht
  • 1979
  • 16
  • 1 Std. 47 Min.
IMDb-BEWERTUNG
7,4/10
47.507
IHRE BEWERTUNG
BELIEBTHEIT
4.340
212
Isabelle Adjani and Klaus Kinski in Nosferatu: Phantom der Nacht (1979)
Theatrical Trailer from 20th Century Fox
trailer wiedergeben2:14
1 Video
98 Fotos
Übernatürlicher HorrorVampir-HorrorDramaEntsetzen

Graf Dracula zieht von Siebenbürgen nach Wismar und verbreitet die Schwarze Pest im ganzen Land. Nur eine Frau reinen Herzens kann seiner Schreckensherrschaft ein Ende bereiten.Graf Dracula zieht von Siebenbürgen nach Wismar und verbreitet die Schwarze Pest im ganzen Land. Nur eine Frau reinen Herzens kann seiner Schreckensherrschaft ein Ende bereiten.Graf Dracula zieht von Siebenbürgen nach Wismar und verbreitet die Schwarze Pest im ganzen Land. Nur eine Frau reinen Herzens kann seiner Schreckensherrschaft ein Ende bereiten.

  • Regie
    • Werner Herzog
  • Drehbuch
    • Werner Herzog
    • Tom Shachtman
    • Martje Grohmann
  • Hauptbesetzung
    • Klaus Kinski
    • Isabelle Adjani
    • Bruno Ganz
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    7,4/10
    47.507
    IHRE BEWERTUNG
    BELIEBTHEIT
    4.340
    212
    • Regie
      • Werner Herzog
    • Drehbuch
      • Werner Herzog
      • Tom Shachtman
      • Martje Grohmann
    • Hauptbesetzung
      • Klaus Kinski
      • Isabelle Adjani
      • Bruno Ganz
    • 269Benutzerrezensionen
    • 172Kritische Rezensionen
    • 79Metascore
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 5 Gewinne & 8 Nominierungen insgesamt

    Videos1

    Nosferatu the Vampyre
    Trailer 2:14
    Nosferatu the Vampyre

    Fotos98

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    Topbesetzung20

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    Klaus Kinski
    Klaus Kinski
    • Count Dracula
    Isabelle Adjani
    Isabelle Adjani
    • Lucy Harker
    Bruno Ganz
    Bruno Ganz
    • Jonathan Harker
    Roland Topor
    Roland Topor
    • Renfield
    Walter Ladengast
    • Dr. Abraham van Helsing
    Dan van Husen
    Dan van Husen
    • Warden
    Jan Groth
    Jan Groth
    • Harbormaster
    Carsten Bodinus
    • Schrader
    Martje Grohmann
    • Mina
    Rijk de Gooyer
    Rijk de Gooyer
    • Town official
    • (as Ryk de Gooyer)
    Clemens Scheitz
    Clemens Scheitz
    • Clerk
    Lo van Hensbergen
    • Harbormaster's Assistent
    John Leddy
    • Coachman
    Margiet van Hartingsveld
    • Vrouw
    Tim Beekman
    • Coffinbearer
    Jacques Dufilho
    Jacques Dufilho
    • Captain
    Michael Edols
    • Lord of the Manor
    • (Nicht genannt)
    Werner Herzog
    Werner Herzog
    • Hand and Feet in Box with Rats
    • (Nicht genannt)
    • Regie
      • Werner Herzog
    • Drehbuch
      • Werner Herzog
      • Tom Shachtman
      • Martje Grohmann
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen269

    7,447.5K
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    Empfohlene Bewertungen

    kilgore-7

    Hypnotic and exquisitely photographed

    Werner Herzog's version of Murnau's classic NOSFERATU is a captivating experience. Klaus Kinski is perfect as Count Dracula. He brilliantly conveys the loneliness and sadness of a creature who longs to be human. Count Dracula is the victim in this film, he does not enjoy his immortality and wants only to live, love and die like a human. Isabelle Adjani's ethereal beauty punctuates her ghostlike performance as Lucy, and Bruno Ganz turns in another solid performance as Jonathan.

    Like other Herzog films, NOSFERATU THE VAMPYRE is exquisitely photographed, eliciting an almost transcendental experience. Jonathan's journey to Dracula's castle, the dancing of the plague-ridden townsfolk, and the final scene are prime examples.

    Once again, using the compositions of Popol Vuh and Wagner, Herzog creates an effective amalgamation of images an music.

    One drawback to the film is that it is so beautiful to look at, it is not especially frightening. This may discourage some Dracula fans, but to those who want a hypnotic, smart vampire film, this is the one to see.
    8Jonny_Numb

    A work of art in motion

    If anybody ever founds a Vampire Museum (and who knows, somebody somewhere probably already has), it would be unjust to devote anything less than a wing to Werner Herzog's "Nosferatu," one of the most stunningly beautiful 'horror' films I've ever seen. While I place 'horror' in quotes, it is not because of a default urge to pigeonhole something into a genre to which it barely qualifies--no, it's because "Nosferatu" is like watching an exquisite painting magically put in motion. There is fear and eerie atmosphere aplenty (much of which is provided by a recurring classical music cue), mixed with a rat fixation that becomes oddly symbolic. Unlike F.W. Murnau's 1922 version, this 1979 remake is as much about the existential despair of the undead condition rather than simply the plight of a blood-sucking vampire; while many scenes are recreated shot-for-shot, Herzog is no plagiarist, and actually improves on many of the technical shortcomings that hindered Murnau's film decades before ('night' no longer looks like mid-day, for instance). The film's supernatural love triangle remains intact, and again hinges on Lucy Harker (Isabelle Adjani), who steals the movie from the none-too-modest talents of Klaus Kinski (Count Dracula) and Bruno Ganz (Jonathan Harker). While some may find it slow and ponderous, this "Nosferatu" is one of the best vampire films ever made (besting even Murnau's version), a moody character piece with visual ingenuity to spare.
    10kilgres_bloodmoon

    The Most Complete of Vampire Films

    The vampire genre has seen its share of lackluster films. Indeed, the centerpiece of the grand tradition, the Dracula legend, has seen so many remakes and revisionist attempts that one would be hard pressed to find a version of the tale that is original in its telling. Dracula, like it or not, is a cornerstone of Western society. And it is wholly unfortunate that Bela Lugosi is considered THE Dracula (although Hammer fans may contend that Christopher Lee holds the title since he played the good Count over twenty times).

    With Werner Herzog's "Nosferatu: Phantom der Nacht" (also known as "Nosferatu: The Vampyre"), the old Hollywood rules seem to have been thrown out the window in favor of F.W. Murnau's striking silent film, the 1922 masterpiece "Nosferatu: Eine Symphonie der Grauens" ("Nosferatu: A Symphony of Terror"). While many purists of the genre balk at the idea of favoring the Nosferatu tale over the time-tested Tod Browning and Terence Fisher entries, one must realize that the cape-clad widow's peak Count has been sullied by a thousand parodies over time, and is simply not a frightening entity any longer. This was a matter much pondered by Francis Ford Coppola when considering his adaptation. While Gary Oldman's portrayal was serviceable and definitely different, something key was lacking from the tale.

    This is what Herzog and his long-time "trouble and strife" lead man Klaus Kinski found when they ventured upon the "Nosferatu" remake. Herzog shifted the attention of the viewer away from the plot, which acts mostly as a backdrop for the imagery, and made it so the primary intake becomes a visual one. Kinski's Dracula is not the scowling insect of the Murnau film. He portrays the Count in a way that no other actor has quite grasped. In this film, Dracula is a suffering being, loathing every moment of his curse's continuation. Of course, as the good Count himself states, "Young men. You are like the villagers. and cannot place yourself in the soul of the hunter." The vampyre is trapped by his instincts, and Kinski's eyes betray harrowing madness (as they did in "Aguirre, der Zorn Gottes"), spiteful malice, and a sorrow so bottomless it defies description. It is as if the beast wishes to weep, but has forgotten how.

    Filming on location in Germany, Herzog uses the same dreamlike camera angles, mixing them with a rich color palette and masterful lighting. There is a certain uneasiness that filters outward from the screen as you watch. As Jonathan Harker explores his surroundings during his lodging at Castle Dracula, there is inexplicably a young gypsy boy incessantly playing a scratchy violin under the archway. The surreality of the picture is only matched by its attention to the dark magic of the vampire. Like its predecessor, it actually seems to believe in the creatures, and respects them. It holds the legend, the plight of the people of Wismar, and the plight of the Count himself in deep reverence.

    What can be extracted from the dialogue and plot is that this is not your average bloodsuckers extravaganza. In fact, the good Count only sets his fangs to the throat of the living once on screen, and when that occurs, it lends more of a feeling of sacrifice and sorrow than of terror. Indeed, the tone of the film is driven toward tragedy, and does not shift its course. One of the film's more telling moments is when Dracula, alone with Harker's beloved Lucy, ventures to plead with the beautiful lady, "Will you come to me. become my ally? Bring salvation to your husband. and to me. The absence of love. is the most abject pain." When she refuses, he does not lash out or decide to make a meal of her then and there. He instead moans with the intonation of a wounded animal and slinks off into the night.

    "Nosferatu: Phantom der Nacht" is the most complete of vampire films, and towers over the genre. It could be considered a pity that the only film that sits upon its coattails is its predecessor of the same name. Under Herzog's direction (wisely choosing to avoid remaking classic shots), we get an entirely different film that exudes an entirely different feeling. It not only maintains the eerie horror that the genre deserves, but also achieves a beauty and mystique that has been lost over the years. A must-see.
    8Hitchcoc

    Kinski Rules

    I saw this as part of a double feature with Aguirre: The Wrath of God. Needless to say, it wasn't an evening of giggles. This is a film from beginning to end about pestilence. There is the actual plague. There are characters who are walking demonstrations of pestilence. There is the sad, defeated, Count who, as we all know, is not happy with his condition, but is programmed to steep himself in blood. The characters of Kinski and Adjani are on a collision course. Only through human sacrifice and lust can this demon be destroyed. It's a gray, striking film, full of sadness and despair. Kinski is visually stunning as the vampire. He is remindful of count Orlock in the Murnau film. There is more sensuality in this film (there are less limitations). Still, like its predecessor, the star of the show is death and the scenes with the rats and the people dancing away their last days, the coffins carried through the streets, are as striking as any performance. Herzog brings out the weight of human despair.
    8HenryHextonEsq

    A pretty fine go at "Dracula"

    This Herzog adaptation of the Dracula story, filtered through the memory in particular of Murnau's "Nosferatu: A Symphony of Horrors", is largely a successful film. It is great in parts and in aspects, but doesn't quite amount to a whole that approaches superlative status. Klaus Kinski is rather good, but not quite spellbinding, in the much-donned cape of the old Count. He is not quite up to the vastly contrasting interpretations I have seen - Schreck and Lugosi. Isabelle Adjani? Hers is far from a terrible performance, as one commentator has said; she is, indeed, reasonable in a role often lacking embellishment in other adaptations. Of course, her striking good looks are certainly far from unwelcome. The chap playing Renfield (the madman, so amusingly and vividly portrayed by Dwight Frye in the 1931 Universal "Dracula") is effective in portraying an outright giggling madman - his laugh is one of *the* most absurd and insane sounds I have heard in film...! The use of music is wonderful, as is Herzog's visual direction - the plague scenes leave quite an impression on the mind, and most scenes are accorded impressive backdrops and appropriate visual textures. Popol Vuh's musical textures are dreamily beguiling, setting just the right tone for Herzog's imagery. The film's downside has to be in the dramatics really; the dialogue and subsequent delivery of, are far from great, perhaps owing to the fact that most of the performers' native tongues are not English, and here they have to speak just that language. There is never quite enough dramatic tension induced by the script or the acting; at times the Renfield chap and Kinski are compelling, but only fitfully.

    Having said all this, it is a fine rendition on film of a rather old and, frankly, enduring story. Herzog must take the credit for its effective atmosphere, but perhaps also the blame for the lacking dramatics. Certainly an enjoyable, generally impressive film.

    Rating:- ****/*****

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    Handlung

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    • Wissenswertes
      Werner Herzog decided to restore the original names of the characters the day the copyright of the original "Dracula" expired, while still following the movie blueprint laid out by F.W. Murnau's Nosferatu, eine Symphonie des Grauens (1922).
    • Patzer
      (at around 58 mins) When the captain of the ship is writing in his log he says they left the Caspian Sea, which is landlocked and nearly 1000 miles away from the port in Bulgaria where the voyage started. Bulgaria is on the Black Sea.
    • Zitate

      Count Dracula: [subtitled version] Time is an abyss... profound as a thousand nights... Centuries come and go... To be unable to grow old is terrible... Death is not the worst... Can you imagine enduring centuries, experiencing each day the same futilities...

    • Alternative Versionen
      The English-language version was only available in a shorter cut until 2000, which was about 10 minutes shorter.
    • Verbindungen
      Edited into Spisok korabley (2008)
    • Soundtracks
      Rheingold
      Written by Richard Wagner

      Performed by Wiener Philharmoniker

      Conducted by Georg Solti (as Sir Georg Solti)

      Decca LC 0171

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    FAQ

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    • What are the differences between the International Version and the German Version?

    Details

    Ändern
    • Erscheinungsdatum
      • 17. Januar 1979 (Frankreich)
    • Herkunftsländer
      • Westdeutschland
      • Frankreich
    • Sprachen
      • Deutsch
      • Englisch
      • Romani
      • Polnisch
    • Auch bekannt als
      • Nosferatu, vampiro de la noche
    • Drehorte
      • Delft, Zuid-Holland, Niederlande(many exteriors)
    • Produktionsfirmen
      • Werner Herzog Filmproduktion
      • Gaumont
      • Zweites Deutsches Fernsehen (ZDF)
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    Box Office

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    • Weltweiter Bruttoertrag
      • 3.451 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

    Ändern
    • Laufzeit
      1 Stunde 47 Minuten
    • Farbe
      • Color
    • Sound-Mix
      • Mono
    • Seitenverhältnis
      • 1.85 : 1

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