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Title: Shadow of the Vampire (2000)
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| Cast overview, first billed only: | |||
| John Malkovich | ... | Friedrich Wilhelm Murnau | |
| Willem Dafoe | ... | Max Schreck | |
| Udo Kier | ... | Albin Grau | |
| Cary Elwes | ... | Fritz Arno Wagner | |
| Catherine McCormack | ... | Greta Schröder | |
| Eddie Izzard | ... | Gustav von Wangenheim | |
| Aden Gillett | ... | Henrik Galeen | |
 |
Nicholas Elliott | ... | Paul (as Nicholas Elliot) |
| Ronan Vibert | ... | Wolfgang Müller | |
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Sophie Langevin | ... | Elke |
|
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Myriam Muller | ... | Maria |
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Milos Hlavac | ... | Innkeeper (as Milos Hlavak) |
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Marja-Leena Junker | ... | Innkeeper's Wife |
| Derek Kueter | ... | Reporter 1 | |
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Norman Golightly | ... | Reporter 2 |
Shadow of the Vampire is a film about the making of a German all time classic silent horror-movie from 1922 called Nosferatu-Eine Symphonie des Grauens (Nosferatu-a Symphony of Horror). The production of Nosferatu had to deal with a lot of strange things (some crew members disappeared, some died). This movie focuses on the difficult relationship between Murnau, the director, and Schreck, the lead actor. Written by Anonymous
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What if Max Schreck, the actor playing Nosferatu in F. W. Murnau's 1924 film Nosferatu, was in reality a real vampire? This is the basic premise behind the film Shadow of the Vampire. Although it is an intriguing concept, the execution produces uneven results at best. Now, don't get me wrong. There is much to admire in this film. First and foremost is the acting of William Dafoe as Shreck. Some might just think it is a make-up performance, but no way. Watch Dafoe use his face for maximum potential in every scene as well as his body. Dafoe's interpretation(and the make-up) is brilliant. Dafoe creates some eerie scenes with his acting. The other acting in the film is good. John Malkovich makes a good autocratic Murnau. Catherine McCormack is quite good a a German starlet(pretty to boot as well), and Udo Kier is very good as the producer. Carry Elwes is basically scenery. The biggest problem with the film is the script. The first part of the film introduces the characters and shows Murnau making his classic almost shot by shot. The way Malkovich talks his actors through each scene as he directs probably is very realistic as sound was not used. I especially liked how black and white film was used once we see things from the perspective of the camera lens. This first half is almost like a documentary on the making of Nosferatu. But about midway into the picture, the character of Dafoe is something more than an actor. He is something more than Max Schreck. This turn of events really was a let-down for me. First of all, Max Schreck did quite a few movies. This film basically dismisses him as a one-time actor. The film, in my humble opinion, takes far too many liberties with the distortion of reality. I will admit that this line of exposition is interesting, but it is also very constricting to the development of plot and characterization. Once we find out what Screck wants, the film becomes almost transparent. The ending is easily the most disappointing. Yet, despite the wanting script, the film is hauntingly shot with some very effective scenes and some incredible insights into movie-making from a bygone era and in a different place other than Hollywood. It is nice to see pictures like this made. To fully enjoy the film, I heartily recommend watching the 1924 classic FIRST. It will make the film much more meaningful and interesting to you.