Oct 132013
Nosferatu (1922): The First Big Symphony in Murnau's Opus

For all its technical wizardry (including meticulously crafted iris shots), eerie chiaroscuro effects (the shadow in the stairwell is indelibly etched in my memory), and virtuosic performances (particularly Max Schreck in the lead role of Count Orlok), Nosferatu fails to heat my blood or stimulate my mind to the extent that some other iconic, but probably less well-known, movies in the silent horror genre have, like the more subtle and cerebral The Cabinet of Dr. Caligari (one of my favorite all-time films) or the metaphysical Swedish film The Phantom Carriage. Is Nosferatu a very good and wonderfully atmospheric film? Yes, I think that too is beyond doubt. It’s just that technique aside, it doesn’t seem to have all that much substance to it—you know, the sort of stuff that keeps you up at night pondering multiple levels of meaning. I’m not quite seeing the greatness of it.

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