L'Ombre du vampire

Back in 1924, the silent movie Nosferatu was released. At the time (as now) it was the definitive expression of the timeless story of Count Dracula. There have been, of course, endless renditions of the 1896 Bram Stoker tale; however, Nosferatu was unique in that the medium of cinema was extremely new in 1924, and the maker had to deal with prejudices against this newfangled form of entertainment, which had to compete with the written word. Now, of course, a new Dracula film need not compete with the original story; it only needs to compete with earlier versions on film. This movie explains the story of how Nosferatu was produced. The director, F. W. Murnau (John Malkovich), is filming his masterpiece in Germany (the widow of the story's author refused to sign the rights to the story, so they couldn't film in Transylvania or use any of the names in the book). His choice to play the part of the vampire Nosferatu is Max Schreck (Willem Dafoe), a beastly, hideous man who will appear to the cast and crew only in character (an early example of Method acting, to be sure). Shreck will not travel or bunk with the company; he will live only in the cave dwelling that the film's protagonist, Count Orlac, calls his home. With a leading man that eccentric, it's no wonder trouble appears on the set. People get sick, others appear listless and not quite into their work. Still, the tenacious Murnau pushes on. He must get his shot! His film must be completed! And as it progresses, he slips a little further into his own world, and Schrek - who, it has been said, played perhaps the ugliest vampire in film history - assumes more and more control over the direction of the movie (although not literally). Dafoe is unrecognizable in makeup, but the sinister creepiness he brings to most of his roles is evident here. It's an accomplished actor who can play a part in full makeup and still make the role distinguishable from... well, from some chump in a lot of makeup. Dafoe's excellent here, and his interplay with Malkovich is galvanizing. Their scenes together are like an actor's class on How To Emote and Project. There are times when each actor appears to ham it up slightly (or, in the case of Malkovich, more than slightly), but the two of them together constitute a casting coup. This is a wonderful little film, yet another that didn't quite get the acclaim it deserved. The atmosphere is both rich and compelling, both essential qualities for a film that's all about vampires from long ago. This is not a movie that's high on special effects, either; don't expect to see a lot of flash and fancy. It's also a homage to silent movies and to old-time horror films in general. It's a minimalist film in terms of set itself, but much is done with so little.

The premise of "Shadow of a Vampire" is simple, what if Max Schreck was really a vampire posing as an actor playing a vampire in the Murnau's masterpiece, "Nosferatu?" Well, the result is both slightly scary and pretty funny. Director E. Elias Merhige and writer Steven Katz create a fairly creepy mood, and inhabit the picture with some real interesting characters.

John Malkovich plays famous silent film director F.W. Murnau. This is perhaps the funniest performance of the bunch, especially when he is giving audible instructions to the "actors" while the camera is rolling. Then, there is Willem Dafoe who plays Max Schreck/ the vampire. It is incredibly fun to watch an almost unrecognizable Dafoe play this oddball, Max Schreck. Unfortunately for Murnau, Schreck starts doing what vampires tend to do... bite people. The original photographer dies along with a few others at the mouth of Schreck. After seeing this movie, it is quite easy to see why Dafoe was nominated for best supporting actor at the Oscars. His performance is worth the price of admission.

This is a film which is hard to classify, sense it is a fictional account of an actual film with real people. Yet this horror-comedy does have its moments of wonderful macabre humor along with great performances to help make it an enjoyable movie. A 7 out of 10. I highly recommend watching this as part of a double feature. First, watch Murnau's original 1922 masterpiece, "Nosferatu", then watch "Shadow of a Vampire." You will appreciate "Shadow of a Vampire" a lot more (or maybe vice versa).

It is the age of the silent movie, and German expressionist director F.W. Murnau (John Malkovich) is determined to film his version of the Dracula story, whatever the cost to his cast and crew.

I've never really been a big fan of Nosferatu nor a particular admirer of Willem Dafoe, but this bizarre little movie has made me appreciate both much more. A fictionalised account of the making of F.W. Murnau's 1922 silent horror classic, Shadow of the Vampire toys with the notion that Nosferatu's star Max Schreck (played here by Dafoe) was actually a bona fide member of the undead.

This fanciful idea plays out a little too slowly, perhaps, but offers plenty of opportunity for dark humour, the cast delivering suitably offbeat performances that prove strangely intoxicating, with Dafoe's mesmerising turn as Shreck being the film's strongest suit, the actor's mannerisms and expressions played to perfection.

Casual movie fans who haven't seen Murnau's classic will probably wonder what the hell is going on, so I recommend seeing Nosferatu beforehand, just so that one can fully appreciate the magic of certain scenes and the brilliance of Dafoe's performance.

Shadow of the takes the viewer to 1921 to "witness" the making of F. W. Murnau's silent classic vampire film Nosferatu. Shadow of the Vampire does not pretend to be a documentary; it is a highly stylized, fictional work that delves into its very own imaginative speculations about a filmmaker's creative process.

Having assembled his crew, Murnau (John Malkovich) travels to a small town in Czechoslovakia, where he intends to recreate before his camera the story of Bram Stoker's "Dracula". Set on creating the most realistic vampire film, Murnau secretly recruits a real vampire (Willem Dafoe), promising to recompense the creature with leading lady Greta (Catherine McCormack). Murnau cautiously introduces the vampire to his producer Albin Grau (Udo Kier) and scriptwriter Henrick Galeen (John Gillet) as "Max Schreck", a truly professional "method actor" trained by Stanislavsky. Schreck performs his scenes suspiciously well, only appearing on the set at night and in character, keeping his end of the bargain with the director. Soon, however, his blood thirst takes over and he fearlessly threatens to eliminate, one by one, Murnau's most dispensable crew members.

Shadow of the Vampire stems from the premise that its protagonist, the fictional Murnau (Malkovich), must hire a real vampire in order to ensure a truly authentic representation of the vampire character, "Count Orlock", for his film Nosferatu. The viewer who seeks a more accurate portrayal of the making of the real Nosferatu may find this premise strained and far-fetched, and may even consider the film's ensuing humor a bit aimless. However, Shadow of the Vampire integrates the humorous premise to its metaphorical exploration of the artistic process and of the inevitable struggle between the star, the director and the crew. (In one scene, Schreck tries to secure his interests --a new victim-- by negotiating with Murnau. He reflects: "I don't think we need the writer any longer.") Aside from the film's complex treatment of the film within the film and of the character within the character (where Shadow of the Vampire re-presents Nosferatu, and Shadow's cast plays Nosferatu's cast), the film's most enjoyable aspect is its careful reconstruction of specific Nosferatu scenes. When demonstrating how Murnau shoots these well-known scenes, Shadow's own shots shift between black & white and color; from a full-frame to one enclosed by an iris. Shadow's recreation of the classic scenes are often accompanied by Murnau's off-screen voice-over instructions to the actors, who in turn stop in mid-shot, enter, or exit the frame. These choices offer a fantastic depiction of silent film technique, and they as well add new life and a sort of magical dimension to the original Nosferatu scenes. Undoubtedly, Shadow of the Vampire may be most fully appreciated by the viewer that has already developed a sensitive appreciation for Nosferatu's unforgettable images. Still, Shadow of the Vampire may be enjoyed as well by those fascinated by filmmaking or --as Shadow's Murnau put it-- by "the science of the creation of memory."

This movie is a true relief for everyone who thought the genre of horror and mystery was dead and buried. It feels good to see that it's still possible to create movies like this. Even though the plot is rather simple, the movie seems to be very original and innovating. The basic idea behind this movie is so simple that it is - in fact - brilliant and it makes me wonder why nobody has thought about this earlier. The movie is completely based on the very early horror milestone "Nosferatu, ein symphony des grauens". Legendary actor Max Schrek is portrayed here like a REAL vampire who regularly takes a bite out of his crew. Director F.W. Murnau knows about this but finishing his movie is a higher priority to him than to sacrifice a few people.

This theme makes it of course a must for the ancient horror fans. Lots of footage and trivia of the 1922 masterpiece are shown and that's a real extra value for true cinema buffs ! But of course, this movie reaches far above average thanks to the brilliant performances. A totally disguised Willem Dafoe is absolutely amazing in his role of Max Shreck. It's like looking at the real Schrek...the resemblance is terrific. His appearance (especially the long nails) give you the creeps whenever he's on screen and his voice haunts your head every time he says something. Dafoe never gives away a bad performance but this one is extraordinary. And of course,the same can be said about John Malkovich...his portrayal of director F.W. Murnau is extremely realistic and believable. He plays Murnau as the man who slowly goes insane because he tries to be too perfect. An amazing performance !!

There aren't many shock effects to detect in this movie but that's rather normal, right ? After all, it's more like a costume-drama than it is horror. The lack of exiting scenes is made up by the constant presence of tension and an extremely appropriate atmosphere. Also, a perfect image of Eastern Europe in the 1920's is presented to the audience. All these aspects make a much better movie then just some ordinary slashing and slicing throats. A must see !!