There are many traps a filmmaker can fall into when making a Horror film. One of the most common snares that a filmmaker can be caught in when telling a scary story is irony. The premises of most Horror movies are inherently ridiculous. The temptation to acknowledge this fact and even revel in it is too much to resist for most directors – thereby making a Horror movie more fun than frightening. There is absolutely nothing wrong with this if that is what a filmmaker is setting out to do in the first place. Indeed, there are a myriad of great light and fun films in the Horror genre. Sometimes, though, we need our darkness to be serious-minded. Sometimes we want a Horror movie that will make us think as well as react. One of the finest Horror movies to come out in recent years did just that, when in the year 2000 director E. Elias Merhige brought us SHADOW OF THE VAMPIRE.
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The year is 1921. Film director F.W. Murnau (John Malkovich) and his producer Albin Grau (Udo Kier) are in deep into production of their ambitious Horror movie “Nosferatu”. After completing their shooting on the soundstages, the production is preparing for their location shoot in Czechoslovakia. Grau is apprehensive about such a massive undertaking – something that was rarely done in film at the time. Even more disconcerting for him, he has yet to meet the man who will be playing their vampire. Murnau assures everyone that the actor, a mysterious man named Max Schreck (Willem Dafoe), is already on location and is immersing himself in his role. Once the crew arrives in Czechoslovakia and meets Schreck, strange events begin to occur and a mysterious ailment befalls the films photographer, Wolfgang Muller (Ronan Vibert). It comes out that Max Schreck is, in fact, a real vampire – and he has made a deal with Murnau. As payment for appearing in “Nosferatu”, Schreck would be allowed to feed on the film’s lead actress, Greta Schroeder (Catherine McCormack).
As with all Vampire movies, SHADOW OF THE VAMPIRE belongs to its monster, and this film gives us an interesting take on what a vampire can be. This vampire may be immortal, but he is subject to age. Here, the vampire is so ancient he is decrepit – almost senile. He is so old he doesn’t even remember his own name, so he willingly adopts the persona of Max Schreck. He relishes the chance to interact and express himself to mortal humans again – even if he can’t remember the details of his past. He sees in this cinematic undertaking a chance to regain some of his lost glory - something that might make his immortality worthwhile again. While this vampire may be somewhat pathetic, he no less dangerous. He is still supernaturally strong, cunning, and he will get what he wants – a fact that Murnau comes to understand, to his horror. This level of dynamism in a monster requires an actor of extraordinary skill and dedication, and Willem Dafoe pulls it off with such perfection that it earned him an Oscar nomination.
Max Schreck is not just a vampire, however, he is also a temperamental actor – recognizing his importance to the production and making demands of Murnau, knowing he has him by the short-hairs. It is in this fact that we get another layer of depth in the writing of SHADOW OF THE VAMPIRE. This is a film just as much about artistry as it is about a vampire. In fact, this film postulates that F.W. Murnau is just as much a bloodsucking fiend as Max Schreck – putting his cast and crew in grave danger in order to achieve his singular artistic vision. To what length is artistic means worth its ends? Schreck is what he is and can not change it, but Murnau has choices. Is he really that different? Is he, in fact, worse? In the end, who is the Vampire and who is the Shadow?
SHADOW OF THE VAMPIRE is a rarity among Horror movies. It is a film where the Horror is achieved not just through the vibe or subject matter, but mostly through the drama. This Horror movie takes its responsibilities as a Drama just as seriously and it achieves a level of traditional cinematic ‘artfulness’ that is rare in a Horror movie. This film plays its material straight; using assured, artful direction, writing, and acting create a Horror story that makes you believe its strange premise. While this film might not be frightening in the obvious manner that most Horror movies are, the nightmarish quality of SHADOW OF THE VAMPIRE has earned it a rightful place in the filmography of the macabre.
Parental Guide - Though not scary in the traditional sense, there is a lot of mature themes. 13+
SHADOW OF THE VAMPIRE fun facts –
The poem that Schreck recites is “Tihonus” by Alfred, Lord Tennyson; about a figure from Greek mythology who is immortal, but continues to age.
The idea that Max Schreck was a real vampire is not original to this film. It is a well-known cultural legend in Germany.
The original title was “Burned to Light”.
Some of the mood music played by Murnau during filming is actually John Williams’ 1979 score for “Dracula”. Others from Wagner’s “Tristan and Isolde”.
F.W. Murnau - “I don’t expect you to understand this, and I am loathe to admit it myself, but the writer is necessary. All of my people are necessary. ”
Max Schreck – “This is hardly your picture any longer!”
Henrick Galeen – “What is it that inspires the most longing in you? That is most desirable, and yet most unattainable?”
Max Schreck – “The light of the sun.”