10 Ways Nosferatu 2024 Is Different From The Original Film

10 Ways Nosferatu 2024 Is Different From The Original Film

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The vampire Nosferatu is one of the most iconic figures in horror cinema, most recently in Robert Eggers’ Nosferatu. It is no wonder why, from his recognizable rat-like appearance, to his controversial similarities to Bram Stoker’s Count Dracula. Over the decades, Nosferatu has appeared in several adaptations since his creation in Nosferatu: A Symphony of Horror, the 1922 film directed by German filmmaker, F.W. Murnau.

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Though many directors have chosen to adapt Murnau’s film, few expanded upon the story as deeply as Robert Eggers does in his new adaptation. Eggers’ hit film stays true to Murnau’s original story of Nosferatu, but notable details and changes are added in to provide extra character development and immerse audiences in the haunting tale of Count Orlok. It is clear that Eggers’ additional touches resonate with audiences, with Nosferatu breaking 2024 box office records by already grossing $40.3 million domestically. Still, it’s fun to compare it to the 1922 original to see what’s been changed.

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10

Nosferatu’s New Look

Nosferatu’s Corpse-Like Design

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One of the glaring changes that Robert Eggers made in Nosferatu, is Count Orlok’s fresh appearance. Contrary to Murnau’s vampire, this Count Orlok (Bill Skarsgård) does not have a rat-like, polished appearance. Instead, in Nosferatu, Skarsgård appears more grotesque, resembling the rotting corpse of a human.

Beyond his macabre new design, viewers have noticed that Nosferatu sports a mustache, decrepit clothes, and a balding head of hair. This is likely another choice by Eggers to make Count Orlok appear more human-like. In an interview with Vanity Fair, Eggers explains he hoped to construct Orlok to resemble a real-life corpse: “This guy looks like a dead Transylvanian nobleman. Every single thing he’s wearing, down to the heels on his shoes, is what he would’ve worn.” Regardless of his intentions, the new Nosferatu’s striking appearance puts a fresh spin on the character that is sure to shock audience members who expected the original look of the German vampire.

9

Creation Of Professor Albin Eberhart Von Franz

Willem Dafoe’s Zany Character Is A New Addition

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Another obvious change in Eggers’ Nosferatu, is his creation of the new character, Professor Albin Eberhart Von Franz, portrayed expertly by Willem Dafoe. Dafoe’s new character is a vampire hunter and scientific practitioner of the world of the occult, and who helps Ellen (Lily-Rose Depp) and Thomas (Nicholas Hoult), to discover the mystery behind Nosferatu’s curse.

Considering the crucial role Professor Albin Eberhart Von Franz plays in Nosferatu, it is surprising that his character does not exist in the previous Nosferatu films. Instead, the main characters are aided solely by Professor Sievers, the professor of medicine who runs the Wisborg mental asylum. Eggers decision to create Dafoe’s character allows audiences to hear more about the paranormal factors at play in the film, such as Ellen’s abilities to connect with the spirit world. Besides this, the Professor provides several comedic moments due to his eccentric personality and ramblings.

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Ellen Summons Count Orlok

Ellen Initiates Her Relationship With Nosferatu

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The nature of the relationship between Count Orlok and Ellen Hutter is changed altogether in Nosferatu. In Eggers’ new adaptation, Ellen is responsible for summoning Count Orlok to her when she was a younger girl, by using her connection to the supernatural. Because of this, their relationship is not only more intimate, but occurs for a longer period of time and Ellen and Orlok meet a tragic ending together in Nosferatu.

This change is a clever twist on the original story, because it explains the reasons behind Orlok’s obsession with Ellen, and raises the stakes for Lily-Rose Depp’s, Ellen, who wishes to escape her former assaulter. Eggers’ change differs greatly from Ellen’s connection to Nosferatu in Nosferatu: A Symphony of Horror, where Count Orlok’s interest in Ellen begins because he sees a portrait of her when Thomas comes to visit his castle. Ellen’s choice to summon Count Orlok also deepens her character beyond the helpless victim she appears as in Murnau’s film.

7

Nosferatu Attacks Victim’s Chests

The Way Count Orlok Drinks Blood Is More Grotesque

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A smaller, yet noticeable, difference with Eggers’ Count Orlok is the way that he drinks his victims’ blood. Unlike the classic vampire who attacks his victims’ necks, this Count Orlok opts to strike them in the chest, in an altogether much more gruesome fashion.

Choosing to have Orlok attack his victims’ heart, is just one of the many changes Eggers made to emphasize Nosferatu’s brutality. Eggers explains this change was made to honor vampire folk tales of the past, which had vampires attack their victims’ chests, instead of their necks. Though this detail may be small, it is one of the many ways that Nosferatu effectively transformed Count Orlok to be more frightening and shocking to audience members, who expect the traditional fanged beast. The deaths of several characters are also made all the more horrific when Orlok drinks their blood.

6

Friedrich And Anna’s Screentime

The Two Supporting Characters Are Given A Spotlight

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Several side characters are given a larger role in the film, but perhaps none to the extent of Friedrich (Aaron Taylor-Johnson) and Anna Harding (Emma Corrin), the couple that are friends to both Thomas and Ellen. Compared to their brief screen time in Nosferatu: A Symphony of Horror, Friedrich and Anna are given more depth as characters, making their gruesome deaths all the more tragic by the end of the film.

Murnau’s depiction of the characters differs in several ways, but most notably, Friedrich lives with his sister, Anna is not his wife, and he does not have children. While Ellen stays with the Harding’s, she rarely interacts with them. In Eggers’ version, Anna and Ellen have a lifelong friendship, and Friedrich and Thomas are equally close. Friedrich’s disbelief in the supernatural is also an addition by Eggers. By placing more attention on Friedrich and Anna, the audience’s relationships with the characters deepen as well. It is hard not to sympathize with the loving family who are torn apart by the Hutter’s connection to Nosferatu.

5

Ellen’s Locket

Ellen’s Parting Gift To Thomas Is A New Touch

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In Nosferatu, no small detail is without purpose. One of these is Ellen’s locket, containing a lock of her hair, which she gives to Thomas before he departs. The locket goes on to play a significant role in the plot, deepening Count Orlok’s connection to Ellen once more when he keeps the item and revealing to Thomas that Orlok has fixated his attention on his new wife.

Nosferatu: A Symphony of Horror, does not feature the locket. Instead, Thomas carries a photo he has of Ellen, which prompts Count Orlok to become obsessed with her. Though the locket is a small alteration, it furthers Ellen’s role as an active participant in the love triangle, since she gives it to her husband for his journey to the castle. The locket also adds a more personal touch to the article that Orlok later becomes fixated on, deepening his connection to Ellen.

4

Thomas’s Failed Attempt To Kill Orlok

Thomas’s Act Of Bravery Is A New Addition

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Another small but meaningful change in Nosferatu is Thomas’s interactions with Count Orlok while in the castle. Though Thomas originally tries to flee when discovering the truth about Orlok’s true nature, Nicholas Hoult’s Thomas attempts to kill Orlok by staking him through the heart. Unfortunately, he is unsuccessful, as Orlok wakes before Thomas can finish the job.

Eggers’ decision to have Thomas attack Orlok adds an extra level of bravery and grit to his character, who had previously cowered in the presence of Orlok. Not to mention, this choice demonstrates Thomas’s commitment to protecting Ellen, who he knows is being targeted by Orlok by this point in the film. Ultimately, the resulting chase scene is intensified by Thomas’s failed attack, as he flees from Orlok. who is furious about the attempt made on his life.

3

Thomas Is Transported Via Unmanned Carriage

Supernatural Elements Are Used To Portray Orlok’s Powers

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Nosferatu skillfully uses small details about Orlok’s world to demonstrate his supernatural abilities, and immerses audiences further in the horror of his castle. An example of this is the unmanned carriage that transports Thomas to Nosferatu’s castle, as opposed to Nosferatu taking him in the carriage himself as he does in the original 1922 film.

It is hard not to be terrified by Thomas’s journey to the castle alone, which prepares audiences for the horrors that await him when he arrives. Nosferatu’s inclusion of the unmanned carriage allows viewers to understand the state of terror that Thomas begins to feel as he approaches his mysterious destination, encountering strange things that cannot be explained. Beyond this, it is another demonstration of the power that Orlok wields as a vampire and ancient being, proving he will be a formidable enemy.

2

The Love Triangle

Nosferatu And Ellen Share A Romantic Connection As Well

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While Orlok and Ellen are given a briefer acquaintance in the original Nosferatu: A Symphony of Horror, Eggers’ Nosferatu gives the pair a complicated romantic and sexual history. When Orlok reconnects with Ellen after her wedding, the trio enters into a twisted love triangle between Ellen, Thomas, and Count Orlok that causes destruction to those around them.

This is one of the most obvious changes to the original story, and explains more about Orlok’s obsession with Ellen, starting from when she first summoned him. For Ellen, her dark sexual history with Orlok both shames and excites her. Naturally, Ellen’s marriage to Thomas develops a strain, though the two persevere in the end. The tragic nature of this love triangle deepens the motivations behind each of the lead characters, making Nosferatu more than a vampire flick, but an examination of human nature and impulse.

1

Knock Is Given A Backstory

Nosferatu’s Famous Henchman’s Origins Are Explained

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Nosferatu revisits the character of Knock, Count Orlok’s henchman who helps him capture and target victims. Though Knock’s appearance in the original film is brief, Eggers chooses to expand upon his character by giving him a compelling backstory and more screen time.

Similar to Nosferatu: A Symphony of Horror, Knock is revealed to be the boss of Thomas, Herr Knock (Simon McBurney). This Knock is revealed to practice the occult willingly, engaging in dark practices to make contact with Count Orlok himself. In this version, he is shown throughout terrorizing townspeople, planning the entrapment of Thomas, and consulting with Orlok. These moments provide further context for Knock’s descent into madness and connection to Orlok, making him an altogether more terrifying and tragic character.

Source: https://dinhtienhoang.edu.vn
Category: Entertainment