Overview
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Release Date:
17 January 1979 (France)
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Plot:
Jonathan and Lucy live in Wismar and the Count wants a house there. Varna is a port on the Black Sea, close to Dracula's castle.
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Awards:
4 wins
&
3 nominations
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User Comments:
A pretty fine go at "Dracula"
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Crew believed to be complete
Additional Details
Also Known As:
Nosferatu - fantôme de la nuit (France)
Nosferatu the Vampyre (USA)
Nosferatu: Phantom of the Night (International: English title) (literal title)
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Runtime:
107 min | USA:96 min (English version)
Color:
Color (Eastmancolor)
Aspect Ratio:
1.85 : 1
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Fun Stuff
Trivia:
Production designer
Henning von Gierke, also an accomplished chef who enjoyed cooking for the crew, prepared the food for the breakfast shot himself.
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Goofs:
Continuity: As Jonathan rides his horse to Dracula's castle, the horse changes between shots. This can be noted by the bandage and leg markings near the horse's ankles.
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Soundtrack:
Brothers of Darkness, Sons Of Light
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This Herzog adaptation of the Dracula story, filtered through the memory in particular of Murnau's "Nosferatu: A Symphony of Horrors", is largely a successful film. It is great in parts and in aspects, but doesn't quite amount to a whole that approaches superlative status. Klaus Kinski is rather good, but not quite spellbinding, in the much-donned cape of the old Count. He is not quite up to the vastly contrasting interpretations I have seen - Schreck and Lugosi. Isabelle Adjani? Hers is far from a terrible performance, as one commentator has said; she is, indeed, reasonable in a role often lacking embellishment in other adaptations. Of course, her striking good looks are certainly far from unwelcome. The chap playing Renfield (the madman, so amusingly and vividly portrayed by Dwight Frye in the 1931 Universal "Dracula") is effective in portraying an outright giggling madman - his laugh is one of *the* most absurd and insane sounds I have heard in film...! The use of music is wonderful, as is Herzog's visual direction - the plague scenes leave quite an impression on the mind, and most scenes are accorded impressive backdrops and appropriate visual textures. Popol Vuh's musical textures are dreamily beguiling, setting just the right tone for Herzog's imagery. The film's downside has to be in the dramatics really; the dialogue and subsequent delivery of, are far from great, perhaps owing to the fact that most of the performers' native tongues are not English, and here they have to speak just that language. There is never quite enough dramatic tension induced by the script or the acting; at times the Renfield chap and Kinski are compelling, but only fitfully.
Having said all this, it is a fine rendition on film of a rather old and, frankly, enduring story. Herzog must take the credit for its effective atmosphere, but perhaps also the blame for the lacking dramatics. Certainly an enjoyable, generally impressive film.
Rating:- ****/*****