The Stoker estate was none too happy, obviously. They successfully sued the production, resulting in the destruction of most prints of Nosferatu<\/em>, although luckily enough survived that it would go on to be regarded as one of the most enduring films from the silent era (I\u2019d go so far as to guess that amongst modern audiences largely allergic to silent films, it\u2019s probably the most seen).<\/p>\n\n\n\n In the 100+ years since, Nosferatu: A Symphony of Horror<\/em> has proven almost as iconic as Stoker\u2019s novel and Hollywood\u2019s eventual official adaptation of Dracula <\/em>(1931), with actor Max Schreck\u2019s verminous interpretation of the titular unholy one\u2014here renamed Count Orlock\u2014right there with Bela Lugosi\u2019s suave bloodsucker in terms of recognizability and influence.<\/p>\n\n\n\n Robert Eggers’ new, hotly anticipated update<\/a> is but the latest remake of Murnau\u2019s film. Previous ones have ranged in quality and memorability (Werner Herzog\u2019s 1979 version<\/a> is a masterpiece), but amongst them, one film stands out for originality: 2000\u2019s Shadow of the Vampire<\/em>.<\/p>\n\n\n\n A fictionalized behind-the-scenes story, Shadow <\/em>posits that Schrek (Willem Dafoe) was not in fact an actor, but a real vampire who struck a devil\u2019s bargain with the obsessive Murnau (John Malkovich)\u2014who considers himself a \u201cscientist engaged in the creation of memory\u201d\u2014to appear in his new film in order to make it as realistic as possible, in exchange for the body and soul of its leading lady Greta Schr\u00f6der (Catherine McCormack). Things go awry when the insatiable Schrek starts feeding on other members of the cast and crew.<\/p>\n\n\n\n Shadow <\/em>is an odd movie\u2014a horror-comedy that is intentionally light on both elements. Dafoe gives a dynamite performance: grotesque, pitiful, hilarious, and frightening. A scene where he catches a bat midair and munches down on it, to the shock\/fascination of Grau (Udo Kier) and screenwriter Henrik Galeen (Aden Gillet) is some of Dafoe\u2019s finest work. He is so convincing as Schrek as Orlock that the scenes from the movie within the movie are nearly indistinguishable from the real thing. Dafoe would deservedly go on to be nominated for Best Supporting Actor in that year\u2019s Academy Awards (Shadow<\/em> would also rack up a nom for Makeup and Hairstyling).<\/p>\n\n\n\n (Initially, Schrek\/Orlock was going to be played by producer Nicolas Cage, but he stepped aside when Dafoe expressed interest.)<\/p>\n\n\n\n The rest of the film, while handsomely made and thoroughly entertaining, never fully leans into either laughs or frights. It feels like an intentionally low-key movie about movies, even with an undead monster at its center. Director E. Elias Merhige (best known for his gnarly experimental feature of 11 years earlier, Begotten<\/em>) seems most interested in recreating silent era filmmaking techniques. To anyone who\u2019s seen Begotten<\/em>, this makes sense, given that that film\u2014which opens with God disemboweling himself\u2014is dialog-free and styled to resemble a lost film from the \u201820s.<\/p>\n\n\n\n It\u2019s interesting what Merhige chooses to leave out of Shadow<\/em>. There is no mention of Grau\u2019s wartime encounter with a farmer who claimed his own father was an undead spirit, the experience that directly led to him wanting to make a vampire movie. Nor does he lean into the connections between Nosferatu<\/em> and the forthcoming horrors of World War II, despite having a dictatorial director at the center of a film that has often been accused of containing anti-semitc themes. Not that Merhige was required to include either, but it does leave the film feeling a little empty. The rushed third act, which definitely feels chopped up, doesn\u2019t help matters.<\/p>\n\n\n\n The end result is a good movie that falls just short of greatness, which explains why, despite receiving a fair share of praise and awards attention during its initial release, it feels mostly forgotten today. (Merhige returning to theater, save for a couple of short films set in the world of Begotten<\/em>, in the wake of his critical and commercial bomb from 2004, Suspect X<\/em>, is also likely responsible for the lack of awareness).\u00a0That\u2019s too bad, because even though it’s a flawed film, it is still fascinating, especially for the way it defies all genre expectations. With Eggers’ new Nosferatu <\/em>coming out to huge hype\u2014and featuring Dafoe in a major role\u2014hopefully more eyes will fall on Shadow of the Vampire<\/em>. That would be fitting for a movie about coming back from the dead.<\/p>\n\n\n\n “Shadow of the Vampire” is available for rental or purchase via Amazon Prime Video<\/a>.<\/em><\/p>\n\n\n\n![\"\"](\"https:\/\/crookedmarquee.com\/stage8\/wp-content\/uploads\/2024\/12\/shadow2-1024x685.webp\")
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