During the 1800s, paroled Brazilian bandit Cobra Verde is sent to West Africa with a few troops to man an old Portuguese fort and to convince the local African ruler to resume the slave trade with Brazil.
In the 1950s, an adolescent Werner Herzog was transfixed by a film performance of the young Klaus Kinski. Years later, they would share an apartment where, in an unabated, forty-eight-hour ... See full summary »
Jonathan Harker is sent away to Count Dracula's castle to sell him a house in Wismar where Jonathan lives. But Count Dracula is a vampire, an undead ghoul living off of men's blood. Inspired by a photograph of Lucy Harker, Jonathan's wife, Dracula moves to Wismar, bringing with him death and plague... An unusually contemplative version of Dracula, in which the vampire bears the curse of not being able to get old and die.Written by
The film implies on several occasions that Dracula's castle exists in type of shadow dream world and it is in this reality which Harker finds himself at the beginning of the film. This is implied by statements from the gypsies that Dracula's castle is in fact merely a crumbling ruin with these ruins seen while the sun is setting, although Harker finds himself in a fully intact castle. Harker himself even notes that the castle "doesn't seem real" and is haunted by the image of a violin playing boy who is suggested to be either a phantom or ghost. See more »
When Harker rides his horse to the Count's town, his horse has a white bandage on its left front leg that appears and disappears repeatedly from one shot to the next. Although the journey to the town took 4 weeks to complete, it is highly unlikely that the horse would get injured, heal, and then get injured in the same spot again. Apparently two different horses were used. See more »
There is an English-language version which was dubbed, and is about 90 seconds shorter than the original German-language version. Some alternate takes were used, and written language appears in the correct language for that region. See more »
Brothers of Darkness, Sons Of Light
(Featured in German and American film Versions)
Written by Florian Fricke
Performed by Popol Vuh
Courtesy of Celestial Harmonies Records See more »
If anybody ever founds a Vampire Museum (and who knows, somebody somewhere probably already has), it would be unjust to devote anything less than a wing to Werner Herzog's "Nosferatu," one of the most stunningly beautiful 'horror' films I've ever seen. While I place 'horror' in quotes, it is not because of a default urge to pigeonhole something into a genre to which it barely qualifies--no, it's because "Nosferatu" is like watching an exquisite painting magically put in motion. There is fear and eerie atmosphere aplenty (much of which is provided by a recurring classical music cue), mixed with a rat fixation that becomes oddly symbolic. Unlike F.W. Murnau's 1922 version, this 1979 remake is as much about the existential despair of the undead condition rather than simply the plight of a blood-sucking vampire; while many scenes are recreated shot-for-shot, Herzog is no plagiarist, and actually improves on many of the technical shortcomings that hindered Murnau's film decades before ('night' no longer looks like mid-day, for instance). The film's supernatural love triangle remains intact, and again hinges on Lucy Harker (Isabelle Adjani), who steals the movie from the none-too-modest talents of Klaus Kinski (Count Dracula) and Bruno Ganz (Jonathan Harker). While some may find it slow and ponderous, this "Nosferatu" is one of the best vampire films ever made (besting even Murnau's version), a moody character piece with visual ingenuity to spare.
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