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 »
Through examining Fini Straubinger, an old woman who has been deaf and blind since adolescence, and her work on behalf of other deaf and blind people, this film shows how the deaf and blind... 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
Werner Herzog cast Roland Topor as Renfield after seeing him in a French TV show. He had been greatly impressed with the crazy, utterly desperate laugh with which Topor had concluded his every statement on that show. Reprising the laugh in "Nosferatu", it is much more pronounced in the English version of the film than the German. See more »
There are modern light switches next to the main entrance, and a side door in the hall of the Schrader's house when Lisa finds the body of Mina. See more »
Time is an abyss... profound as a thousand nights... Centuries come and go... To be unable to grow old is terrible... Death is not the worst... Can you imagine enduring centuries, experiencing each day the same futilities...
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The English-language version was only available in a shorter cut until 2000, which was about 10 minutes shorter. See more »
by Charles Gounod
Performed by Lorengar/Heinz Hoppe/Franz Crass/Choeurs René Duclos/Orchestre De La Société Des Concerts Du Conservatoire (uncredited)
Conducted by Jean-Claude Hartemann (uncredited) 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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