Warning: Spoilers ahead for Robert Eggers’ Nosferatu! Robert Eggers’ latest interpretation of Nosferatu has sparked a revitalized dialogue around the vampire mythos, steering away from the romanticized images that have become commonplace in cinematic narratives since the 1970s. This film is not just a remake; it’s a breathtaking reimagining that restores the horror to vampire mythology. While iconic adaptations like the 1979 version of Dracula leaned heavily into tragic love stories, Eggers’ vision confronts viewers with the complex and coercive dynamics surrounding Count Orlok.
The film’s exceptional cast delivers powerful performances, enabling Eggers to intricately explore Ellen’s agency amid the disturbing relationship between her and Orlok. This new take on the vampire legend compels audiences to grapple with the darker dimensions of desire and the pervasive nature of evil, culminating in a profound and spine-chilling viewing experience laden with shocking moments.
Dracula & Mina’s Relationship: A Long-Standing Romanticized Trope
From Interesting Trope to Oversaturation in Vampire Culture
Although the narrative of Eggers’ Nosferatu diverges from that of Dracula, it remains inextricably linked to the original story. The two have undergone various reinterpretations that infuse the character of Count Dracula with layers of sympathy. Notably, two adaptations emerged in 1979: John Badham’s Dracula featuring Frank Langella and Werner Herzog’s Nosferatu the Vampyre. Dracula boldly advertised itself as “A Love Story,” whereas Herzog’s work portrayed Orlok as a more tragic figure compared to Max Schreck’s 1922 performance.
Eggers strategically positions Nosferatu as a counter-narrative in a subgenre that has been overwhelmed by romanticized vampire tales.
Over the years, the sympathetic aspects of Dracula’s character have become firmly entrenched within his lore, with notable examples including Francis Ford Coppola’s Bram Stoker’s Dracula, which elevates the romance to a level of Shakespearean tragedy. However, overly romantic portrayals often reduce the female characters, like Mina and Ellen, to mere objects of desire for Dracula (Orlok) and Jonathan Harker. Such a treatment undermines their complexity, particularly given that the original narrative grants Mina significant narrative control as the compiler of letters and accounts. By reimagining Nosferatu, Eggers effectively counteracts this trend of overstylized romanticization that emerged since the work of Anne Rice.
Nosferatu and the Unraveling of Count Orlok’s Coercive Nature
The Dual Nature of Orlok: Predatory Yet Liberating
Lily-Rose Depp revealed to IndieWire that she immersed herself in a book about demonic sexual awakening, which became her “Bible” during the production. In her discussions, Depp highlights that the film is equally a love narrative between Ellen and Orlok as it is about her devotion to Thomas. A pivotal moment occurs when Ellen, in a display of spiritual desperation, calls out to “anything,” inadvertently inviting Orlok into her life.
Furthermore, Ellen’s inquiry about whether evil resides within or outside of oneself underscores Orlok’s embodiment of pure evil, a reality that the post-Enlightenment characters seem unwilling to confront. He becomes a symbol of her suppressed desires. Yet, Eggers intentionally strips the eroticism from Orlok’s character, heightening the horror of his relationship with Ellen through acts of coercion. For instance, he threatens the lives of her loved ones to ensure her submission, complicating any notion of romance.
Ellen’s somnambulism and her extreme bodily reactions—traits that could have led to her marginalization without Anna’s steadfast support—illustrate how these characteristics are vulnerable to manipulation.
Reclaiming Agency: Ellen’s Empowered Role in Nosferatu
Ellen: Echoing Mina’s Empowering Legacy
Unlike many adaptations, Eggers empowers Ellen, as demonstrated in an original screenplay (as reported by Deadline) that reveals her complicated emotional landscape. Ultimately, she triumphs over Orlok by using her perceived submission as a ruse to distract him until daylight: “Ellen looks at him. She has a fiery reckoning in her eyes. She has won.”
Ellen’s active role in initiating her connection with Orlok is not intended to cast her as a victim but instead highlights how Orlok exploits vulnerabilities. This reflects the same predatory dynamics in Stoker’s Dracula, where the Count manipulates Renfield by purchasing a property next to the asylum, thereby gaining access to Mina when the Crew of Light inadequately protects her. Meanwhile, Mina stands empowered as a “New Woman” of the Victorian period and as the compiler of their story. Eggers’ film honors these dualities in Ellen’s characterization.
The Complexity of Nosferatu’s Romance: A Departure from Traditional Adaptations
Orlok: The Ambiguous Intersection of Monster and Anti-Hero
The brilliance of Robert Eggers’ Nosferatu lies in its intricate storytelling and profound character exploration. This complexity is one of the key reasons Eggers chose to adapt Nosferatu rather than Dracula. He draws from Stoker while weaving the fairy-tale elements inherent in Nosferatu, liberating the story from its Victorian confines and allowing it to resonate with timeless themes and Romanian folklore. Importantly, this does not overshadow the historical context of Dracula from the 19th century, reinforcing the provocation of centering Ellen within the narrative. The combination of these influences represents a significant advancement in how vampire mythology is understood and represented in popular culture.
Nosferatu and Ellen’s intricate romance exist in a disquieting space between being predatory and liberating, encapsulating true gothic themes. Although she is inherently preyed upon by Count Orlok, Ellen exhibits a nuanced sexual ambivalence that resonates with subtextual elements found in Stoker’s Dracula, particularly in Jonathan’s accounts.
Eggers skillfully introduces layers of sexual ambiguity, such as the scene where Ellen and Anna share a bed, inviting viewers to interpret the moment as sexually charged yet contextualizes it within the intimate homosocial relationships typical of the era, reminiscent of other classic works like Jane Eyre and Great Expectations. The director artfully leaves enough to the audience’s imagination, creating a simmering tension that imbues Nosferatu with its unique atmosphere.
Leave a Reply