By Sherilyn Connelly
By Inkoo Kang
By Carolina del Busto
By Alan Scherstuhl
By Melissa Anderson
By Aaron Cutler
By Amy Nicholson
By Alan Scherstuhl
The doomed often are a remarkably energetic and productive lot, especially when it comes to creating portraits of their personal horrors. Themes vary in intensity between slow self-destruction and grand devastation, but in vampirism the full spectrum of ghastliness may be covered, because the imbalance represents so much to so many. From the horrifying lore of the misty Carpathian Mountains (fictionalized and rendered immortal by Bram Stoker), to the blood disease porphyria (causing photosensitivity, erratic behavior, and even The Madness of King George), to the romantic parasitism propelling much contemporary fiction and Goth-club theatricality, the vampire is always the coolest of the doomed, spreading an epidemic both fascinating and evil. Amid all the seduction and sexual metaphor and consumption, however, the source of the doomed creature's unholy hunger usually remains a mystery.
Fortunately almost everybody is doomed in Shadow of the Vampireby E. Elias Merhige (Begotten), so the overall portrait offers a striking symmetry between man and monster as well as a demystification of both the traditional vampire paradigm (Christopher Lee hissing menacingly) and the "relatable" contemporary vampire (Tom Cruise flipping his hair). The quirky and cruel screenplay by Steven Katz presents the humanity inherent in vampirism -- and especially vice versa -- while telling a universal tale of insatiable hunger leading to madness and death. While such a project could easily decompose into intolerable, mean-spirited junk, Merhige and Katz focus as much on the jocular as the jugular and are attended by a superb cast that sustains a perfect pitch.
The setting is Berlin's UFA studios in 1921, where director F.W. Murnau (a delirious John Malkovich) snaps at his producer, Albin Grau (a splendidly uppity Udo Kier), and leading lady, Greta Schroeder (a spunky Catherine McCormack). "A theatrical audience gives me life, while this thing takes it from me!" presciently declares Greta, glaring at Murnau's hand-cranked camera, less a machine than a mad fetish for the obsessive artist. Clearly a self-inflated and kinky loon (as evidenced by some quick, lurid action in a morphine-drenched cabaret), Murnau is driven by hunger, which translates into a desire to create the most realistic movie ever filmed.
Woe to his cast and crew, however, as a steam train transports them to the lush, haunted valleys of Czechoslovakia, where Murnau intends to create his monster movie, while a rather poignant voice-over explains, "Our battle, our struggle, is to create cinematic art." Bram Stoker's widow has refused the director the rights to her late husband's novel, so he simply has renamed the project Nosferatu, intending to feature a vampire named Count Orlock. To deceive his team and achieve his dream, Murnau latches on to Max Schreck (Willem Dafoe, devilishly amusing). In Merhige's film this is where historical re-creation ends and wild fiction begins, as Katz takes a crucial liberty with Schreck -- the little-known actor who portrayed the tall, bald, ratlike vampire in the real Murnau's real Nosferatu nearly 80 years ago -- depicting him as a genuinely undead bloodsucker (whom Murnau tries to pass off as a Stanislavsky graduate).
This is the one trick that sustains the remainder of the movie, but it's a good one, because the gruesome Schreck's "method acting" requires the crew to shoot his scenes exclusively at night. Slowly Murnau's small army of craftsmen and actors come to learn the "truth" of their pallid, persnickety star, whose appetite leads him much more to flesh than fame. As the first cameraman (Ronan Vibert) and the hilariously devalued screenwriter (John Aden Gillet) meet with the horrors of Schreck, Murnau simply becomes more obsessive, barking commands at his alternately jovial and terrified leading man, Gustav von Wangerheim (Eddie Izzard) and roguish replacement cameraman (Cary Elwes) to complete Nosferatu at any cost. Most disturbing of all, as a sort of completion agreement with his unpredictable villain, the nearly certifiable Murnau has promised Schreck a delectable morsel at the wrap party.
Without question Shadow of the Vampire is a stately and elegant horror film, interwoven with delicious strands of black comedy. Apart from the unpleasantness inherent in the story's very essence, the movie's main problem may be that the material will be too obvious for more reverent students of the genre. It's not scary or suspenseful per se, and it's much more dank and claustrophobic than the original Nosferatu or for that matter the powerful and haunting 1979 remake by Werner Herzog. While Murnau gave us the darkest of fantasies and Herzog somehow managed to make a plague of rats seem beautiful, Merhige's magic is smaller, more intimate, built upon spooky dissolves and Dafoe's remarkable makeup, which does half the actor's work for him.
Ultimately Shadow of the Vampire boils down to a battle between two vampires -- Murnau and Schreck -- and is a film that addresses the future of cinema as much as it is a document in thrall to the past. Watching the movie, one finds it impossible to forget that motion pictures are about capturing souls. More disturbingly, one must consider who is doing the capturing and what force -- masculine, feminine, or other -- drives him or her to such an endeavor. Turn away and you'll glimpse two madmen dissolving into caricature. Look closely, however, and you'll behold the dark heart of cinema made manifest.
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