Andrew Allard '25
Editor-in-Chief
Remember that one episode of SpongeBob with the creepy still from the classic Nosferatu? I sure do. Though it was just a silly punchline, the jarring insertion of a shot of Count Orlok from the 1922 horror film always creeped me out. I suspect I’m not alone. Even Robert Eggers, director of the new Nosferatu, thanked SpongeBob for introducing a generation of viewers to the classic horror film.
But SpongeBob is not the only historical contingency that made an American Nosferatu possible. Eggers’ work on the film began back in 2015, and his fascination with Nosferatu dates back to his years in high school. “Of course, it was the image and performance of Max Schreck that haunted me as a kid. There was something essential about the mysterious vampire and the simple fairytale of Nosferatu. And I am certain that when Hutter threw open the lid of Orlok’s sarcophagus, audiences gasped at the terror and imagined the stench of the undead monster. How could I find my own way there?” Eggers explained, in an interview with Deadline.[1]
Eggers has developed a reputation for his rigorous historical research and gripping atmospheres. Critics praised his first film, The Witch (2015) for its depiction of God-fearing 17th-century New England Christians. The Lighthouse (2019) was likewise noted for its attention to detail—down to the characters’ dialects and facial hair. While Eggers’ latest film is further evidence of his talent for directing historically accurate pieces, Nosferatu succeeds not just in recreating the past but also in reflecting on the present.
[SKIP TO END TO AVOID SPOILERS]
F.W. Murnau’s Nosferatu: A Symphony of Horrors (1922) was made in Germany during the Weimar Republic, a period of economic anxiety and social upheaval that preceded the rise of the Nazis. Reflecting Germany’s festering anti-Semitic sentiment, Nosferatu is about a foreign aristocrat who acquires property in a small German town, where he spreads a plague and rats, and ultimately sleeps with the protagonist’s wife.
Of course, fear of the Other is present in the source material, Bram Stoker’s Dracula (1897), but F.W. Murnau’s interpretation amplifies it. Whereas Dracula is depicted as youthful and charismatic, the monstrous depiction of Max Schreck as Count Orlok has been noted for drawing from antisemitic caricatures of Jewish people. And while Count Dracula causes some characters to fall ill, the town-wide plague is an innovation of Nosferatu. Incidentally, Nosferatu was released two years after the 1918-1920 flu pandemic.
Given that Eggers is such an avid student of history, it’s hard to imagine that the parallels with the recent global pandemic and America’s current wave of xenophobia are lost on him. But Eggers also emphasizes the original Nosferatu’s economic anxiety. It is, after all, a story about old, bloodsucking aristocrats who feed on young townspeople.
Thomas Hutter (Nicholas Hoult) is a recently married man in the town of Wisborg. Hutter takes an assignment from real estate broker Herr Knock (Simon McBurney) to work on a deal with a wealthy aristocratic client. The only catch is that the client, Count Orlok (Bill Skarsgård) is in poor health, so Thomas must hand deliver the deed to him in Transylvania. Thomas accepts the assignment against the pleading of his wife, Ellen Hutter (Lily-Rose Depp), who fears disaster if he leaves. Thomas, desperate to pursue his ticket to a middle-class life, insists he must go, whatever the risks.
Of course, as is often the case, the wife was right. Thomas’s journey leads him to the vampiric Orlok’s castle, launching the film’s central conflict. Meanwhile, Ellen, who is ill and nightmarishly communing with Orlok, stays with Thomas’s well-to-do friend, Friedrich (Aaron Taylor-Johnson), whose paternalistic presence gives further weight to the film’s themes of class and poverty.
Upon his return to Wisborg, Thomas joins with the local physician, Dr. Sievers (Ralph Ineson), and the eccentric Professor Eberhart (Willem Dafoe) to hunt and kill Count Orlok. But unbeknownst to Thomas, Eberhart has told Ellen that the only way to defeat Orlok is for her to seduce him; the hunt is merely a distraction for Thomas. The film’s climax sees Thomas inadvertently killing his boss, Herr Knock (the class warfare is getting a little on the nose!), while Ellen gives herself over to Orlok. The Count dies, and Ellen with him.
I left the theater with a sense of anxiety and hopelessness, which I can only imagine was the desired effect. It was great. Bravo, Mr. Eggers!
[END OF SPOILERS]
This is the third rendition of Nosferatu, after Herzog’s 1979 remake of Murnau’s original—itself an unauthorized adaptation of the novel Dracula. But Egger’s Nosferatu is not just another dud in Hollywood’s long line of remakes and reboots. Its success as both a love letter to the past and a meditation on the present makes it well worth a watch.
---
tya2us@virginia.edu
[1] https://deadline.com/2025/01/nosferatu-script-read-the-screenplay-robert-eggers-1236245724/.