The only thing that sucks here is a vampire — otherwise, 'The Witch' director's take on the landmark silent movie is stylish, scary and creepy as hell.
At the midpoint between Bram Stoker turning a Transylvanian folk tale into a literary touchstone and Bela Lugosi inspiring a million I-vant-to-suck-your-” about an eccentric Eastern European named Count Orlok with a taste for Type O. The fact that it was more or less an unofficial adaptation of Stoker’s noveldid not sit well the author’s family, who sued the film’s producers and demanded all prints be destroyed.
No less than Werner Herzog remade Murnau’s masterpiece in 1979, starring Klaus Kinski as the bald-headed bloodsucker; rather than pussyfoot around the whole rip-off-or-not aspect, the former doubles down and names the character Count Dracula. And now we have Robert Eggers’a film which is as faithful to its source material’s unsettling vibe as it is frightening, yet quickly distinguishes itself as its own rough beast slouching toward Hollywood, USA.
The original benefited heavily from both a shadowy, Expressionistic aesthetic and Schreck’s eerily committed portrayal of “the cursed one”; aabout his whether his undead-or-Memorex performance was indeed a performance. Eggers replicates the spirit-of-’22 vibe with a whole lot of abyss-black darkness from which figures either emerge from or proceed into, as well as a production design that emphasizes an 18th century strain of rainy dread and free-form rot.
Still, this is Eggers’ film, from first frame to last, and it’s his determination to wrap his particular, peculiar sensibility in and around a century-old classic that makes this feel like more than just Horror Movie Karaoke 101. Or at the very least, it makes this one hell of a love letter written in period-appropriate ink and with an artisanally feathered quill. You understand why this won’t convert anyone to his cause.
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