What if what you watch on the screen have something of truth. Yes, there are movies that are based on real events, but what if one of the most famous monster on screen was real.WOuld your perspective of the film changed? Would you admire the decisions made by the director. Max Schreck's performance in the classic film Nosferatu has become legendary. What if the reason he was so good is that he really was a vampire? That's the premise of this film, which features director F.W. Murnau so enamored with creating the perfect vampire film that he seeks out an actual member of the undead to play the title role. But when Schreck starts taking more and more advantage of the opportunities to feed he suddenly has, can Murnau come to his senses and destroy …show more content…
Since "Nosferatu" is one of the most known movies about vampires, it is remarkable how they were able to adapt and recreate some of the scenes of this movie. The movie is one of the best examples of the German impression cinema movement and the amount information projected into every scene is incredible. This movie "adaptation" is less complex than the original material since it only gives some examples of the shooting of the film. It is one of the most interesting works I have seen in a behind the camera movies. You can say it is a movie within a movie. It is an interesting re-imagination of this horror classic.
Willem Dafoe (Max Schreck) gives life to the vampire protagonist in this movie. This can show you how even night creature can lure into fame and the demands of a movie star. We can see the changes in the personality of the vampire as he starts to believe he the star of the movie. He becomes a prima dona and makes the cast and crew victims of his thirst of recognition and blood. Dafoe does an extraordinary representation of Nosferatu. As he looks great behind the make-up and prosthetic he uses in the movie. He even is able to give the essence of how a german vampire should sound
...dience long after the film reels have stopped turning. The idea of a “scary movie” could be innocuous enough, if it is simply frights and ghoulish images, but Nosferatu raised the bar and discovered how to delve into a collective mindset and produce a truly unsettling product. Germany’s residual shame and concern regarding World War I made Nosferatu a gripping, telling exploration of a nation’s psyche.
Nosferatu a Symphony of Horror and Sunrise: A song of two humans, are silent films directed by F.W. Murnau made in the 1920's. Sunrise tells the story of two young lovers that rekindle their romance, and Nosferatu is a horror adaptation of Bram Stoker’s, Dracula. While they differ in genre, both are similar in that they consist of a young couple that encounter a threatening situation. The element of space becomes an interesting aspect relevant to both films as it is used to foresee the events of what is to come in the plot. In Noseferatu, enclosed spaces evoke the feelings of uneasiness and no escape.
Hollywood in known for making literary adaptations, and such adaptations will exploit context. Movies bring literary properties to the public that otherwise would not bother to read them. However the "marriage" of literature and film holds their own separate qualities. It is precisely the point that Hollywood distorts and corrupts serious literature for the entertainment pleasures of a mass audience. In the task of comparing and contrasting the novel of "Dracula" to film extracts of "Bram Stoker’s Dracula", values, meaning and context discovered lie between discrepancy and similarity.
script, the viewer needs another way to interpret the film. The 1922 silent film Nosferatu
Hollywood has played a big part is our lives. Growing up we’ve seen numerous movies, some that scared us others that touch us, and those images stayed with us forever. So what happens when Hollywood takes a classic piece of literature such as Frankenstein and turns into a monster movie. It transforms the story so much that now some 50 years later, people think of Frankenstein as the monster instead of the monster’s creator. It became a classic monster movie and all the high values of the original were forever lost.
The most prominent resemblance between Bram Stoker’s Dracula (1992) and the infamous Apocalypse Now (1979) is the glimmer sense of realism thorough the movie. The director, Francis Ford Coppola has been known for his verisimilitude; effortlessly creating and directing each setting in the film looks schematized and deliberately natural. Innately, the one of the most apparent functions of a setting is to create an impression of reality that presents the viewer a sense of a real place and time and the sensation of being there. His consciousness of realism admits the great importance of an authentic setting play in making his films overwhelmingly imaginable. With a judiciously supervision from the director, numerous factors such as location and setting, costume and visual design contribute to a successful plausible film.
While studying the diabolical figures in the devil, the idea of presenting Dracula came to mind. Dracula represents the devil in many similar ways. Dracula remains as a character in many diabolical movies and films. For instance, Van Helsing provides a good interpret of how Dracula remains noticed in the past and in present day. Although Dracula’s character obtains different views in every movie and film, he plays an important role in Stephen Sommers Van Helsing movie. In the movie, he acts as many different things. Demonstrating both the kind and evil inside, Dracula portrays his character as a mystery. Different views of Dracula throughout the movie include harsh, strong, powerful, evil, the devil, and unstoppable. The studies of Dracula
... although his downfall comes because he has limitations, such as, “his power ceases, as does that of all evil things, at the coming of the day.”… “Then there are things which so afflict him that he has no power, as the garlic that we know of, and as for things sacred, my crucifix…” These reassure one that there is a means to destroy Dracula.
He is an undead centuries-old vampire who sleeps in a coffin in the basement, can assume the form of animals, control the weather and is stronger than twenty men, he cannot come into a house unless invited, he cannot walk in water and his favorite meal is human blood, which these traits are consistent with his portrayal in both the novel and the movie (Stoker). Although the novel and movie share many likenesses with Count Dracula’s character there are some unique qualities that are slightly different the book describes a shadow coordinated with Count Dracula’s body while in the movie his shadow works separately from his body movements (“Dracula (Universal Classics)”). Another feature of Count Dracula’s character in the novel is that he cannot be in or near the sunlight or it will kill him, but in the movie, he meets Mina in the daytime and it does not harm him (Bram Stoker’s). Nevertheless, in the book Dracula is a pure evil, terrifying blood hungry monster that wreaks havoc on anyone he meets and feels the need to take life or end life with his arch nemesis being with anyone who wants to preserve life (Stoker). But in the movie when he meets Mina on the streets of London, he pursues her, starts a courtship with Mina and he falls in love with her so when he
One might argue that the scariest horror films are those films which horrors portray a sense that something of that nature might actually happen in the real world. The beauty of horror films is that anything could theoretically be possible, like Freddy Krueger sticking his tongue through Nancy’s phone as he says, “I’m your boyfriend now, Nancy” or a horde of zombies stampeding through the cities of the United States wiping out humanity in its path. If one thinks about it long enough, anything we can perceive could happen. However, there is a line between the pure science fiction and those horror films which attempt to tackle a more realistic, social, cultural, psychological, or political problem in society.
From Transylvania to Hollywood, vampires have transformed from unfamiliar, mysterious personalities to one of the most dominant monsters in the horror genre today. Vampires are one of the oldest and most noted creatures in mythology, with many variations of them around the world. Although the most famous version is Bram Stoker’s Dracula, many variants have come before and after telling of the same legend with their own added ideas and modifications to relate to their cultures. Today, there is a multitude of literary and film works that convey and resurface peoples’ fear of vampires. As gothic works like Dracula, by Bram Stoker and Scooby-Doo! and the Legend of the Vampire directed by Scott Jeralds share certain traits reflective of the genre; These factors include setting, actions of each vampire, the initial reactions to news of them, and how their presence affects the people who live within the region the vampires inhabit.
F. W. Murnau’s Nosferatu was a powerful commentary on disease and lust for its time. The character of Count Orlok himself was a metaphor for most evils such as disease, lust, and death. Towards the end of the film, people began to get sick from a disease that originated from Transylvania. What also causes widespread epidemics is that people unknowingly carry them into their home countries. Paranoia of the disease is also a crucial element of the film. The film’s innovative use of shadows and lighting also add more depth and suspense to the film and adds on to the commentary and social themes of the film. The iconic scene where Orlok went up the staircase and you saw nothing but his shadow stuck out to audiences all around for good reason.
The Count is the benchmark of the vampire archetype as the monstrous Other that “announces itself as the place of corruption” (Anolik and Howard 1). Dracula is associated with disruption and transgression of accepted limits—a monstrosity of great evil that serves to guarantee the existence of good (Punter and Byron 231). The “Otherness” Dracula possess reinforces our own norms and beliefs through his transgression that separates him from society and the polarity to Western norms and ideals makes him an effective device for extorting revulsion and horror. Stoker’s novel employs Gothic tradition, providing “the principle embodiments and evocations of cultural anxieties” from which the very Gothic mood and horror is produced, establishing the baseline used to distinguish the modern vampires, as part of vampire mythology within the Gothic (Botting Aftergothic
As Oskar Schindler, Liam Neeson does an outstanding job of portraying a savy buisness man and a caring human being. Ben Kingsley plays his part with heart and cleverness. Ralph Fiennes is so completely believable as Amon Goeth. I would have never wanted to cross the path of that man. The people who played the jews were so convincing in their parts. This film truly has the feel of a documentary.
Film Review of Lord of the Rings In the film the “Lord Of The Rings”, there is a great evil called