Director Robert Eggers Reveals How His ‘Nosferatu’ Will Be Different

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As a long-time admirer of Robert Eggers‘ work, I must say that his latest endeavor, a reimagining of the timeless horror classic Nosferatu, has left me absolutely spellbound. The film’s exploration of human desire, particularly its darker aspects, is a testament to Eggers’ unique vision and mastery of historical horror.

Robert Eggers is recognized for his distinctive approach to historical horror, and his upcoming project, a reimagining of ‘Nosferatu’, further delves into the shadowy realm of human desire that he often explores. In his earlier work, ‘The Witch’, the phrase ‘Wouldst thou like to live deliciously?’ gained notoriety as it was employed by the demon goat Black Phillip to lure the young Puritan girl Thomasin towards temptation.

On December 25, Eggers’ latest movie will be released in cinemas, delving once more into comparable motifs, centering around a young woman’s haunting yearnings. Eggers’ adaptation of Nosferatu, set to premiere, offers a fresh perspective on the 1922 silent horror masterpiece by F.W. Murnau.

The movie begins with Ellen Hutter (portrayed by Lily-Rose Depp) crying out for aid in her old bedroom. She yearns for a guardian angel to alleviate her suffering. However, the entity that responds to her plea is anything but kind. Count Orlok, played by Bill Skarsgård, materializes at her window, commanding Ellen to yield to him. This moment evokes a blend of anxiety and an unusual sense of delight, foreshadowing the unsettling, psychosexual bond that develops between them.

Ellen is an outcast, a young woman who finds herself alienated from the society of the 19th century. In a significant interview with TIME, Eggers portrays her as someone who has a profound grasp of life’s darker aspects but struggles to find the right words to convey it.

She’s misunderstood and alienated, which leads her to seek out a connection with Orlok, a creature who represents the very evil she feels drawn to. This connection brings her shame, as she is torn between the desire for freedom from her societal repression and the realization that this force is truly evil.

The narrative leaps ahead to the year 1838, where we find Ellen, now wed to Thomas Hutter (portrayed by Nicholas Hoult), encountering even more hardships. Thomas is dispatched to a castle nestled in the Carpathian Mountains, with the intention of meeting Orlok, who intends to purchase property in Ellen’s native town.

As Thomas gets deeper into the Count’s affairs, he fails to notice the mysterious power in action, on the other hand, Ellen’s bond with Orlok becomes increasingly profound.

In his reinterpretation of Nosferatu, Eggers’ work bears some similarities to Bram Stoker’s Dracula; however, he offers a unique perspective by deviating from the original course. Interestingly, the initial version of Nosferatu was essentially an adaptation disguised as its own story, but a lawsuit brought by Stoker’s estate led to the confiscation and destruction of the movie’s copies.

Although some versions perished, the tale persisted and remains influential among movie makers. Eggers acknowledges the resemblance between his production and Dracula, yet he stresses his intention to craft a distinct type of vampire—one significantly different from the polished, aristocratic bloodsuckers commonly depicted in mainstream media.

Eggers’ Count Orlok deviates significantly from the common, dashing portrayals of vampires in contemporary horror. Instead, he is a repulsive, decomposing figure, modeled after folklore depictions that characterized vampires as maggot-ridden and foul-smelling corpses.

Eggers intended to maintain the chilling essence of this character, crafting Orlok as an intimidating and suggestively-shaped figure, a truly terrifying antagonist instead of a romanticized one. This grim representation of Orlok significantly contributes to the movie’s ominous ambiance and plays a significant part in Ellen’s internal conflict with her own desires.

Over the course of the narrative, Ellen grows increasingly conscious of her internal struggles. She begins to ponder if the source of her negative traits resides within herself or originates externally. Eggers implies that Ellen is wrestling with her feelings towards Orlok on a physical level.

In one scene, Ellen’s actions are portrayed as if she were experiencing some sort of supernatural control, evidently reflecting her internal conflict. Contrasting with Mina Harker in Dracula, who is depicted as a passive victim, Eggers provides Ellen with a more proactive role. Though she seems to be wrestling with something, it’s her choice to challenge Orlok and accept whatever destiny awaits her.

In his writing, Eggers doesn’t avoid the intricacies of Ellen’s predicament. While Thomas thinks he’s the savior, it is actually Ellen who possesses the crucial ability to stop Orlok. From Eggers’ perspective, this power struggle between the characters presents a captivating narrative, as the woman often deemed insane by others turns out to be the one with the power to resolve the issue. This subversion of traditional gender roles in horror movies adds depth and complexity to Ellen’s character.

For Eggers, this project has been eagerly anticipated, as his interest in the tale of Nosferatu was sparked at the tender age of nine, when he encountered a worn-out VHS version of the movie.

The haunting, unpolished image of Max Schreck’s Orlok stuck with him, and he eventually went on to stage a Nosferatu play in high school. His journey to remake the film took over a decade, but now, Eggers has finally realized his vision.

In the upcoming project, Willem Dafoe reprises his role, appearing alongside earlier films by Eggers like “The Lighthouse” and “The Northman”. He takes on the part of Professor Albin Eberhart von Franz, a character whose presence ties up the story neatly.

Instead of focusing on typical horror tropes, Eggers’ portrayal of Ellen as a deeply emotional and selfless protagonist shows his curiosity in delving into the richness of human emotions rather than just the generic aspects of horror.

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2024-12-23 18:44