Not quite what I had expected. Very similar to Aguirre in style and tone, which doesn't work entirely. Good but not great.

Beautifully made and much more than just a good remake. It looks fantastic - as does Isabelle Adjani in twenties-style expressionist make-up - and the lead performances are top notch. The film is really about the Harkers; the familiar Dracula cast of characters are otherwise reduced to the bare bones.

Kinski's screen time doesn't warrant top billing but his performance does. He takes Schreck as a base point and moves in his own chilling way. The film is more concerned with the Count's effect on the world, and the spookiest scenes are those in the plague-ridden Wismar. There's a superb ending too, but the slightly languid pace keeps it from being in the top drawer.

Probably one of the most intense and terrifying screen performances ever, Klaus Kinski brings a new dimension of fear to the Dracula story in this remake of the 1922 silent classic. Dark and brooding, the whole film has a troublesome vibe throughout and stands as the most horrifying adaptation yet.

"Nosferatu the Vampyre" is a cold fish of a vampire film. It is slow paced and free of any real passion generated by its characters or story.

The film, however, is not devoid of charms. It is handsomely assembled, and Werner Herzog's lingering camera allows viewers the opportunity to absorb the film's imagery as it transitions from naturalistic to expressionistic. Fans of F.W. Murnau's original film will enjoy Herzog's quoting of some of the older film's mise-en-scene and shots, while fans of the vampire genre may appreciate the vampire cast as a somewhat post-modern, tortured undead soul. Overall, the film is worthwhile viewing for those with patience.

Beautifully made and much more than just a good remake. It looks fantastic - as does Isabelle Adjani in twenties-style expressionist make-up - and the lead performances are top notch. The film is really about the Harkers; the familiar Dracula cast of characters are otherwise reduced to the bare bones.

Kinski's screen time doesn't warrant top billing but his performance does. He takes Schreck as a base point and moves in his own chilling way. The film is more concerned with the Count's effect on the world, and the spookiest scenes are those in the plague-ridden Wismar. There's a superb ending too, but the slightly languid pace keeps it from being in the top drawer.

Nicely shot, and Kinski definitely plays a creepy dracula. I wish there was a tad more atmosphere in certain scenes, but overall a good movie.

Doesn't reach the height of the original, but is gets pretty darn close. Might be the best remake I've seen. It stays true to F.W. Murnau's masterpiece while still taking a life of it's own.

Stokera romāns par Drakulu mūsdienās šķiet vairāk uzjautrinošs nekā biedējošs, bet Hercoga variācija par tēmu vēl joprojām ir patīkami baisa un šerminoša. Filma ir veidota vācu ekspresionisma stilā - ar visām dīvaini lauztajām ēnām un slīpajām līnijām kadros ar zārkiem. Rūpīgi sižetam pieskaņotie dabas skati, mūzika, lēni lidojošie sikspārņi, žurkas un mūmijas veido izteikti spocīgu noskaņu. Savukārt Kinskis un Adžāni liek noticēt, ka viņi ir būtnes ne no šīs pasaules.

Vienīgi tās krāsotās žurkas bija mazliet mulsinošas. Bet atstāt tās baltas arī nebūtu bijis labi.

adjani

Šīs filmas atmosfēra sagrābj un neatlaiž kopš kadrā parādās pats grāfs Drakula. W.Herzog ir izdevies filmā veiksmīgi izmantot neizbēgamo teatrālismu, kas saistīts ar Drakulas būtību un pārvērst to biedējošā un gandrīz kā klātesošā pieredzē. Nepameta sajūta, ka vēroju kvalitatīvu teātra izrādi - nav ekrāna un stikla, kas mani šķir no garajiem Drakulas nagiem.

Still an intense and effective adaptation of Dracula that is as creepy and terrifying as a vampire film should be.

A little boring, a little lame, a lot bizarre...but I still enjoyed the experience. I thought of it as an artistic love letter to the original NOSFERATU, rather than as a film that is supposed to be thrilling or scary. Four stars because a few scenes stopped my heart completely (some because they were so beautiful, others because they were so grotesque), and because it's Herzog, and sometimes I love him so very much that it hurts. Kinski's Dracula is effective because he's a pitiable monster, playing with your emotions more than anything else. The scene near the very end when he's with the girl is probably the grossest thing in any vampire film I've watched. Worth seeing if you enjoy films that are more like moving paintings, Herzog's long gazes at nature, and Popol Vuh's incredible scores.