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Nosferatu, eine Symphonie des Grauens (1922) More at IMDbPro »

Masterworks Of The German Horror Cinema (Nosferatu / The Cabinet of Dr. Caligari / The Golem) (dvd):

Amazon.com video review: Three seminal works in one package make this an ideal choice for film buffs and horror fans. The Masterworks of the German Horror Cinema contains three influential masterpieces from the early 1920s: The Golem, The Cabinet of Dr. Caligari, and Nosferatu. All three films are excellent, and their influence on later works, most notably Frankenstein, is clear. Nosferatu, directly plagiarized from Bram Stoker's Dracula, is by far the scariest of the three. Max Schreck's bizarre, creepy performance as the vampire is still surprisingly effective. The Golem is a retelling of the Jewish legend of a rabbi who dabbles in the black arts to protect the inhabitants of the ghetto. He makes a man of clay and brings him to life, with dire results. Though all three have gorgeous images, The Cabinet of Dr. Caligari, the tale of a mysterious mesmerist, is the most interesting as a prime example of German expressionism. The swooping, distorted sets are brilliantly nightmarish. The three silent films are best enjoyed with the volume turned all the way down. While The Golem is presented in silence, by far the most satisfying option, the music soundtrack tacked onto Caligari is unnecessary at best, and the score Nosferatu has been saddled with is absolutely dunderheaded. Bonus material includes stills and poster art from all three films and a clip from the lost film Genuine: A Tale of a Vampire. --Ali Davis

Nosferatu (dvd):

Amazon.com Essentials: As noted critic Pauline Kael observed, "... this first important film of the vampire genre has more spectral atmosphere, more ingenuity, and more imaginative ghoulish ghastliness than any of its successors." Some really good vampire movies have been made since Kael wrote those words, but German director F.W. Murnau's 1922 version remains a definitive adaptation of Bram Stoker's Dracula. Created when German silent films were at the forefront of visual technique and experimentation, Murnau's classic is remarkable for its creation of mood and setting, and for the unforgettably creepy performance of Max Schreck as Count Orlok, a.k.a. the blood-sucking predator Nosferatu. With his rodent-like features and long, bony-fingered hands, Schreck's vampire is an icon of screen horror, bringing pestilence and death to the town of Bremen in 1838. (These changes of story detail were made necessary when Murnau could not secure a copyright agreement with Stoker's estate.) Using negative film, double-exposures, and a variety of other in-camera special effects, Murnau created a vampire classic that still holds a powerful influence on the horror genre. (Werner Herzog's 1978 film Nosferatu the Vampyre is both a remake and a tribute, and Francis Coppola adopted many of Murnau's visual techniques for Bram Stoker's Dracula.) Seen today, Murnau's film is more of a fascinating curiosity, but its frightening images remain effectively eerie. --Jeff Shannon

Nosferatu (vhs):

Amazon.com Essentials: F.W. Murnau changed the name and ghastly appearance of his villain, but this unauthorized version of Bram Stoker's Dracula couldn't fool the Stoker estate, and it became the center of a lawsuit that almost resulted in its complete destruction. Thankfully this masterpiece survives (though in a somewhat altered form), for despite its liberties with the novel, this 1921 horror classic remains the most beautiful and resonant interpretation of Stoker. Though the plot remains essentially the same--naive real-estate clerk Thomas (Gustav von Wangenheim) is sent abroad to finalize a sale with the nocturnal Count Orlock (the hideous-looking Max Schreck), who imprisons Thomas and travels to England to claim Thomas's beautiful young wife, Ellen (Greta Schroder), as his own--the visual realization creates a very different story. Schreck plays the vampire as a grotesque demon, with his claw-like hands, bald head and sharp, bat-like ears, and he rises from his coffin with an supernatural stiffness, like a tent pole pulled upright. When the eerily empty ghost ship carrying his coffin arrives in Thomas's home port, a river of rats pours out and spreads through the town like a plague. Perhaps the most noticeable changes from the novel are the absence of Van Helsing and the richer realization of Ellen, the would-be victim, whose innate sensibility and solemn spirituality give her a spooky connection with the vampire. With his stark, symbol-laden visual scheme and sacrificial conclusion, Murnau creates a more mythic tale than any subsequent adaptation of Stoker's novel. --Sean Axmaker