Review: Nosferatu: A Symphony of Horror (1922) ★★★½

Nosferatu: A Symphony of Horror (1922) was the earliest screen adaptation of Bram Stoker’s Dracula. Though the filmmakers never had the rights to Bram Stoker’s work, it follows the same story, with very few deviations. At the start of the film, the protagonist, young man named Hutter, travels to a distant castle on business. Upon his arrival, he quickly discovers that the owner of the estate is a blood-sucking vampire named Count Orlock. After Hutter reveals the Count’s true identity, the remainder of Nosferatu: A Symphony of Horror focuses on Count Orlock’s journey to Hutter’s hometown of Wisborg.

Nosferatu displays many technical devices that were characteristic of the silent era and German Expressionism. The camera does not move at all. Instead, it stays immobile during each shot. This technique allows (or forces) the actors to move around the fixed space and stylized sets.

Though the director uses a few close-ups to capture character emotion and focus on important objects, the majority of the film is composed of medium-long shots at eye-level. Even though it is a black-and-white film, color is put to good use to convey different times of day (blue for nighttime, sepia for daytime, and red for twilight). Fade transitions help signal both the passage of time and change of locales. Though this may seem like a standard, even basic technique by modern standards, it reflected the influence of German Expressionist art on future films.

e narrative, Nosferatu: A Symphony of Horror has a somewhat unsteady flow. Due to the lack of sound and rare intertitles, character motivation is not always clear. Even though the actors are very theatrical to make up for the lack of spoken dialogue, the film frequently leaves audiences in the dark. Clever editing techniques direct the audience to points of interest in the frame, but it only serves to make sense of individual moments. The story as a whole feels a bit muddled.

In defense of the film, the makeup and costumes are very impressive for the time. Count Orlock looks just as frightening as a vampire in any 21st-century horror film, if not more so. Special effects help make Orlock seem even more supernatural. For example, when Orlock first emerges from his coffin, he seems to rise up as if by magic. No strings are visible. It never feels cheap in any way.

However, the most impressive aspect of the film is the lighting. While many of the shots were probably filmed in broad daylight, most scenes with Orlock are dark. His scenes are dark to the point of making him difficult to see. This lighting method helps make him seem even more creepy and sinister. Minimal backlighting and harsh key lighting create Orlock’s shadow as he creeps over his victims. Additionally, fixed lights on Orlock’s face give him a shocking, pale visage.

Overall, the film is technically proficient and innovative for its time. Unfortunately, Nosferatu: A Symphony of Horror could have been much more entertaining (especially for modern audiences) with a more coherent narrative. It’s difficult to maintain interest when the story meanders and many scenes go on for far too long. Moreover, the character motivations and plot lack cohesion, making it an especially hard sell for viewers who are skeptical of silent films in general.

Rating: ★★★½ out of 5

If you’d like to watch Nosferatu: A Symphony of Horror (1922), it is currently available to rent or purchase via Amazon here. And if you’d like to read more film reviews like this one, consult the Philosophy in Film Homepage!