Tag Archives: Disease

157. NOSFERATU (1922)

Nosferatu, eine Symphonie des Grauens; Nosferatu, a Symphony of Horror

“It is commonplace to say that silent films are more ‘dreamlike,’ but what does that mean? In ‘Nosferatu,’ it means that the characters are confronted with alarming images and denied the freedom to talk them away.”–Roger Ebert

Must See

DIRECTED BY: F.W. Murnau

FEATURING: Max Schreck, Gustav von Wangenheim, Greta Schröder, Alexander Granach

PLOT: A young clerk named Hutter leaves his wife Ellen to travel to Transylvania with a deed for one Count Orlock to sign so he can purchase a house in Viborg. Orlock, however, is nosferatu, a vampire, and Hutter find himself a prisoner in the Count’s castle as Orlock ships himself to the German port in a coffin. When Orlock arrives the town is shut down for fear of plague, and the vampire takes an interest in Ellen…

Still from Nosferatu (1922)

BACKGROUND:

  • F.W. Murnau’s first seven films, made between 1919 and 1921, are all considered lost. Among them was an adaptation of “Dr. Jekyll and Mr. Hyde.” Nosferatu was his tenth movie.
  • Albin Grau, Nosferatu‘s co-producer, financier and production designer, was an occultist and a German rival of . His production company Prana intended to produce films promoting occultist beliefs, but the company went bankrupt after Nosferatu.
  • Nosferatu is an unauthorized adaptation of Bram Stoker’s novel “Dracula,” barely disguised by changing the names and moving the action from London to Germany. The Stoker estate successfully sued the filmmakers for copyright infringement after release, and the film was ordered to be destroyed (fortunately, many prints survived).
  • Ranked #21 on Empire Magazine’s List of Best Films of World Cinema.
  • ‘s 2000 film Shadow of a Vampire is about the making of Nosferatu, and plays on the notion that the actor Max Schreck might really have been a vampire (an idea fleshed out from a tongue-in-cheek suggestion made by the writer Ado Kyrou in his book “Surrealism in Cinema”).

INDELIBLE IMAGE: What else could it be but Max Schreck, the rat-faced herald of plague and pestilence and the screen’s most bestial bloodsucker? The scene where he rises unnaturally, stiff as a plank, from his coffin in the ship’s hold still presses the primal panic button.

WHAT MAKES IT WEIRD: The experimental use of negative images, sped up film stock, primitive stop motion photography, and the play of shadows to suggest a diabolical world coexisting with our mundane sunlit world creates an uncanny, nightmarish universe. The once new and startling techniques Murnau employs quickly became commonplace, but after nearly a century of disuse they have again become novel through their very archaism.


Trailer for a 2013 re-release of Nosferatu

COMMENTS: At the dawn of cinema, horror movies weren’t diversions meant to give teenage boys an excuse to put a comforting arm around their Continue reading 157. NOSFERATU (1922)

LIST CANDIDATE: ANTIVIRAL (2012)

DIRECTED BY: Brandon Cronenberg

FEATURING: , Joe Pingue,

PLOT: Syd is in the business of supplying fans who pay good money to be infected with a herpes simplex virus extracted from their favorite celebrities, but when he samples the blood of the world’s hottest model, he unwittingly injects himself with a fatal virus.

Still from Antiviral (2012)

WHY IT MIGHT MAKE THE LIST: Doomed protagonists peering into mysteries they’d be better off not finding the answers to, painful hallucinatory bodily transformations, beautiful women with hidden gynecological deformities: Anitviral‘s got that genuine Cronenberg phenotype. Brandon, the son of , ensures the family’s weird gene will live on.

COMMENTS: Antiviral is simultaneously science fiction, a satire of contemporary celebrity culture, a psychological thriller, and a body-horror fever dream. Trying to juggle that many balls takes the kind of hubris that only a first-time director can summon. Antiviral is generally up to the task, although it does start to drag as it runs its course; but its strange concepts and its chilly style should be enough to keep you hooked to the end. Antiviral imagines a world of the near future where celebrity obsession has become literally pathological: people pay top dollar to achieve “biological communion” with beautiful people by being infected with their personal diseases. This highly profitable market naturally invites corruption, including viral piracy by unscrupulous bug mules willing to serve as human incubators. To protect their intellectual property, pathogen peddlers have derived a bizarre copyrighting system that somehow uses facial imagining technology to give unique, distorted human features to each individual virus. The pop-microbe trade isn’t even the sickest way this society exploits susperstars’ cell structure; I won’t spoil that nauseating revelation. Caleb Landry Jones plays Syd, a top Lucas Corporation viral technician who’s wan-looking even when he’s healthy; he has few facial expressions, but seems like he was cast for his sickliness. On the other end of the spectrum is luminous Sarah Gadon (who, with roles in A Dangerous Method, Cosmopolis and now this is fast becoming the Cronenbergs’ go-to actress), the “more than perfect, more than human” supermodel whose cold sores are the Lucas Corporation’s top sellers. When Syd inadvertently contracts a fatal infection—one which, thankfully for the audience, includes inducing traumatic Cronenbergian hallucinations as a major side-effect—the race is on to find an antidote. The young viral entrepreneur will find out how deep the underground bio-celebrity trade goes, and how far the pathologists who work there are willing to go to keep their business model healthy. The future created in Antiviral is eerie and repellant. Like one of the movie’s copyrightable virus visages, which look like smartphone snapshots that have been run through a cheap face warping app, the culture here is distorted but recognizable. Cronenberg’s constant white-on-white color scheme can be heavy handed at times, but it generally reinforces the movie’s tone: artificial, otherworldly, and coldly antiseptic. While Antiviral runs out of steam before it reaches classic status, there are moments in the film that will make you both physically and morally ill. As a debut, it’s a promising start. Another generation of Cronenbergs is a savory prospect, and while not quite a masterpiece, Antiviral is a promising indicator of unsettling things to come from Brandon.

Antiviral‘s central premise—that people would willingly infect themselves with the flu, or herpes, just so they could feel closer to beautiful strangers—is too absurd to be believed, a satirical exaggeration. Then again, within our society exists the rare but real subculture of bugchasers. God help us.

WHAT THE CRITICS SAY:

“If weirdness was all that mattered… ‘Antiviral’ would be a must-see.”–Matt Pais, Redeye (contemporaneous)