A Sombra do Vampiro

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."

In 1922 filming of Murnau's movie `Nosferatu' has begun. Murnau has recruited the mysterious Max Shreck to play the lead role. Crew fall ill and Shreck never appears out of character or during the day. Fellow actor Gustav believes Shreck is an intense method actor – however Shreck is a real vampire and has agreed to star in the film in exchange for the neck of the leading lady when filming finishes. However Shreck's lust for blood continues to grow throughout the shoot.

This is an inventive film that looks at how far art will go to create. The director Murnau seems as driven by the creative process as Shreck is by his lust for blood. This comparison is carried through the whole film until the inevitable showdown between the two drives. The setup itself is fascinating but the comparison between the two men makes it even better.

The film is well shot and uses the different cameras well. It looks really good and mixes bright shots with shadowy darkness really well. It also benefits from a good cast. Malkovich is excellent as the driven director who easily becomes a monster himself but Dafoe is even better. Despite being almost unrecognisable under the make up, Dafoe manages to bring humanity to his monster – he also brings some humour without making his a comedy role. Elwes is underused, but Izzard is great as a bad 1920's actor!

Overall this may not inspire interest in everyone but it has a great cast and a good central story. The comparisons drawn between Murnau and Shreck only improve what is already a very enjoyable film.

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.

An entertaining "what if?" homage to Silent Film Director Murnau who is best remembered for his iconic Vampire Film Nosferatu (1922). For most enjoyment of this quirky send-off, see that Film first, not only for grounding, but it is truly a seminal work and is quite a capturing experience and Max Schreck's Vampire has become a Horror Movie symbol.

This is a beautiful film with sumptuous cinematography, wardrobe, and sets. The performances range from static to sensational with an unrecognizable Willem Dafoe stealing the show. Although, there is a lot left to embrace even when he leaves the frame.

It is an offbeat movie to say the least and will be a tough swallow for some. It does wallow in its own craziness but not to the point of distraction. There are some rough inconsistencies to the story but are swept away in the fun and creepiness of it all.

For those willing to imagine the absurd this is quite a conceit to behold. It is all believable in a world gone mad sort of way and it is presented in such a reverential and dutiful way that it can't help but be admired.

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.