Shadow of the Vampire (2000) is a reworked "Nosferatu," which is a reworked "Dracula," making the newer film more easily adaptable to unexpected comic and artistic twists
Inspired by rumors that actor Max Schreck’s unnerving portrayal of Count Orlock in the 1922 classic film Nosferatu came from his being an actual vampire, Shadow of the Vampire reveals what might have happened if this were true. Intriguing subplots involve the Nosferatu director’s (F.W. Murnau’s) common traits with the vampire and Orlock’s current state of physical and moral degradation. Hence, the Murnau character is a shadow of the vampire, and Orlock is a shadow of his former self. Playing the parts are John Malkovich as Murnau and Willem Dafoe as Schreck (Orlock).
Director E. Elias Merhige uses conflicting motivations. The character of Murnau wants to make history through his work on this film; leading actress Greta wants fame; the producer wants the financiers to keep backing the movie; and Count Orlock wants fresh blood to suck. Other cast and crew within this movie within a movie merely want to do a good job and get paid for their efforts. We see to what horrible depths Murnau will sink to achieve his goal; he is a different kind of monster than Orlock (a natural, rather than supernatural one) where the end justifies any means. As shown in the brief sex club scene, Murnau – like Orlock – is a creature of the night.
Shadows and Vampires
In keeping with the theme of Murnau as a shadow of Orlock, scenes are framed in an artful way when Murnau and the Count speak with each other. Although others have discussions side by side or face to face, Murnau and Orlock talk with one in the foreground and the other in the background, suggesting that one is a reflection of the other. The use of doorframes and mirrors to frame scenes – as with the original Nosferatu – is continued in this film, both on-screen and off-screen, i.e., in the movie within the movie (Nosferatu) and within the movie itself (Shadow of the Vampire).
Shadows are extremely important in this film, with eerie dark images preceding most appearances by the Count. We see his gnarled hands with their long claws and his hideous profile in shadow or subdued light before entering each scene. The movie tends to be dark, shot partly in black-and-white for the Nosferatu scenes and partly in color during night scenes shot outside the castle and inside the castle, but illuminated only by candlelight. This helps build tension for the inevitable burst of bright light able to destroy Orlock.
Men and Monsters
Merhige employs misunderstandings to drive the story forward and produce humor. Greta complains to Murnau, “A theatrical audience gives me life, while this thing merely takes it from me.” She is speaking figuratively of movies, but we later learn that she is speaking literally as well. Additional dark comedy surfaces when Orlock devours a bat with crew members while talking about the loneliness of Dracula (faking servants, pretending to have already eaten food, etc.) when he read Bram Stoker’s novel. The crew misunderstands and believes he is joking or staying in character. We also get a welcome chuckle when Greta gripes about the depressing conditions on the set. “Who died?” she asks, just minutes before a violent death occurs.
Dafoe’s portrayal of Max Schreck deserved (and received) an Oscar nomination. He amazingly transformed into a rodent-like vampire who clicked his fingernails, grunted, and smacked his lips at the prospect of fresh blood. Dafoe’s layered performance (much like Schreck’s) includes facial expressions, gestures, and intonation that make Orlock a comical, tragic figure rather than merely a hideous monster to be feared.
To learn more about supernatural horror films, read Stephen King's 1408 Now on DVD.
