Robert Eggers’ Nosferatu

Bela Lugosi memorably launched the tradition of suavely elegant portrayals of Count Dracula. His approach remains the most popular. However, he was predated by Max Schreck’s depiction of the infamous Count in F.W. Murnau’s Nosferatu, whose freakish appearance served as a physical manifestation of his moral corruption. He was also German. Lugosi and Anne Rice’s smooth-talking vamps remain more popular, but Schreck still spawned his followers, including Werner Herzog’s remake of the 1922 silent classic (with the names re-Stokerized). Now, horror auteur Robert Eggers’ presents his take on the Teutonic Dracula story in Nosferatu, which opens Christmas day in theaters.

Eggers’ screenplay returns to the names Henrik Galeen’s century-old screenplay that so transparently substituted Count Orlok, Thomas Hutter, and Prof. Sievers for Count Dracula, Jonathan Harker, and Dr. Seward, Stoker successfully sued, securing the destruction of nearly all but a few blessedly surviving prints of the film. In one of Eggers’ few departures, Prof. Van Helsing is now Prof. Albin Eberhart Von Franz, a brand new moniker for the familiar occultist.

Once again, newlywed Hutter journeys to Transylvania to facilitate a reclusive nobleman’s real estate transaction—and it turns out just as badly as ever. However, Orlok intentionally wanted Hutter out of the way, because he already forged a sinister connection to his new bride, Ellen (a.k.a. Mina). Since Hutter’s boss Knock (a.k.a. Renfield) also happens to be Orlok’s enthralled servant, he duly orders Hutter to the Carpathians, where the junior clerk gets somewhat delayed in the castle.

While much more monstrous than conventional tall, dark, and handsome vampires, Eggers’ Orlack is still highly sexualized, in very disturbing ways. Somehow, despite distance and circumstance, Orlack’s spirit seduced and defiled Ellen in her youth. She hoped her love for Hutter would redeem her, but the vampire will not let her go easily.

Regardless, fans know what to expect when Orlack’s trunks arrive on the decimated ship on which they sailed. However, Eggers emphasizes the rats, worthy of “Three Skeleton Key,” which disembark from the derelict vessel, spreading pestilence throughout the city. Conditions get so bad, Prof. Sievers reluctantly consults his slightly disgraced former mentor, Prof Von Franz (a.k.a. Dr. Bulwer, a.k.a. Prof. Van Helsing), who seems to secretly understand the situation more than he lets on.

By horror movie standards, Eggers’ Nosferatu is absolutely gorgeous looking. In addition to Murnau’s original, Eggers and cinematographer Jarin Blaschke achieve a dreamlike vision that suggest the shimmering fantasia visions of Guy Maddin as an unlikely source of inspiration. The film is steeped in Old World gothic atmosphere. In fact, it revisited some of Murnau’s 1922 locations.

Regardless, Bill Skarsgard is amazing and rather frightening to behold, as the demonic Orlok. By now, he could be considered the Doug Jones of leading men. His presence is ferocious, to the point of outright viciousness. Yet, there is still a seductiveness to Orlok’s grotesqueness.

Of course, the perfectly cast Willem Dafoe is jolly good fun to watch unleashing his inner Peter Cushing as the brilliant but erratic Von Franz. Honestly, Ralph Ineson has yet to get the credit he deserves as a horror all-star, but he is every bit Dafoe’s equal playing the sharp-tempered Sievers.

The First Omen, on DVD

Recently, nuns have been like the red-shirted disposable crew-members of horror movies, especially in Immaculate, which wasn’t otherwise special in any way. A new novitiate is duly in for very similar treatment in this film. In fact, it could almost be considered a remake, even though it only opened in theaters a few weeks later, but [badly] retconned into the Omen franchise. One thing is for certain, someone must be getting pregnant eventually in Arkasha Stevenson’s prequel, The First Omen, which releases today on DVD and BluRay.

Ironically, the prologue serves up the film’s scariest scene, featuring a slightly younger Father Brennan (played by Patrick Troughton, the second Doctor [Who] in the original film). Alas, it is mostly downhill from there. Eerily like Sydney Sweeney in Immaculate, naïve prospective “Sister” Margaret has been lured to an ominous Italian convent-orphanage by Cardinal Lawrence, her old trusted priest, who now is part of a shadowy cabal within the Church.

Again, she befriends a comparatively free-spirited fellow novitiate, Luz, in whom Margaret confides her concerns, including the apparent abuse of Carlita, an orphan who suffers from disturbing visions. Sound familiar yet? However, First Omen has Father Brennan to warn Margaret there are sinister things afoot at the convent, if she hadn’t noticed yet.

By far, the best thing going for First Omen is the perfectly cast Ralph Ineson as Father Brennan. He definitely has the right sort of grizzled Peter Cushing-esque intensity for Antichrist-busting priest.

However, the film waters down Fr. Brennan’s backstory, ditching his past sexual transgressions, which allowed the Satanic faction temporarily corrupt him. Stevenson and co-screenwriters Tim Smith and Keith Thomas go further, somewhat de-Satanizing the secret Devil-worshiping cabal, turning them into bizarre uber-Catholic fanatics seeking to hasten the Antichrist’s arrival to “scare” people back to the Church. Right, what could go wrong with that plan?

Agatha and the Truth of Murder: Christie’s 11-Day Mystery

Agatha Christie remains so beloved by her public, we still can’t help wondering where she got off to during her mysterious eleven-day disappearance. It served as the inspiration for the 1979 film Agatha that suggested Dame Agatha was researching methods to kill her unfaithful husband’s other woman. That was not so satisfying for fans, especially since she was played by Vanessa Redgrave, an outspoken supporter of the anti-Semitic PLO terrorist syndicate. This is take #2. This time around, Ms. Christie slips away from her personal drama to solve a murder mystery in Terry Loane’s Agatha and the Truth of Murder, which is scheduled to release on iTunes today.

It is relatively early on in Agatha Christie’s celebrated career, but she is already feeling pressure to keep surprising her readers. She even seeks out the advice from her crusty old colleague, Sir Arthur Conan Doyle (yes, their professional careers really did overlap). However, the old blowhard isn’t much help. Frankly, her creative problems are really rooted in her marital problems, which Col. Christie wants to solve with a divorce. Of course, the wronged writer has no intention of giving him such an easy out. She also still thinks she loves him.

The future Dame is not very gracious when retired nurse Mabel Rogers comes seeking her assistance to solve the six-years-cold murder of her best friend, Florence Nightingale Shore, who really was the god daughter of Florence Nightingale and was very definitely bludgeoned to death on a train bound from London to Brighton. Despite her own domestic turmoil, Christie becomes fascinated with the crime and eventually agrees to apply her deductive talents to it.

Fittingly, she hatches a risky scheme, in which the five leading suspects will be summoned to a remote country estate on the pretext of a potential inheritance, allowing the great mystery writer to examine them while pretending to be an agent of the estate solicitor. Alas, her plan starts to implode when one of the suspects turns into a victim.

Screenwriter Tom Dalton cleverly fuses together the two historical mysteries of Christie’s disappearance and the murder of Nightingale Shore. The problem is the first act is downright pokey, wasting a lot of time on awkward character development that is already established for most mystery fans. On the other hand, the country manor business stays pretty true to the spirit of Christie’s books.

Sundance ’15: The Witch

If you want to psychoanalyze a culture, look at the horror movies it produces, because that will show you what really scares them. Consider this the exception that proves the rule. In writer-director Robert Eggers’ period chiller, early 1600s Puritan New Englanders feared the Devil could have designs on their souls. Worse still, they might be tempted to deal it away. These are not baseless anxieties in Eggers’ The Witch, which screens during the 2015 Sundance Film Festival.

Thanks to their father’s zealous pride, Thomasin’s family has been expelled from their Puritan community to an isolated hardscrabble farm, where they must fend for themselves entirely. It has not been going well. Their crop failure is bad news in strictly economic and sustenance terms, but it is even more ominous as a sign or portent. Poor teenage Thomasin becomes the family scapegoat after her infant brother uncannily vanishes while she is minding him. Her father is relatively forgiving, but her mother is witheringly judgmental.

Of course, the grieving parents are understandably disturbed, since they believe their unbaptized baby is now surely damned. Unfortunately, Thomasin’s bratty young sister and (now) youngest brother mischievously or perhaps maliciously seem to do everything possible to cast supernatural suspicion on Thomasin, yet they seem to be the ones who are inexplicably drawn to the family goat, Black Phillip.

Who would have thought a moody, suggestive period horror film would be the hot ticket at Sundance, but it clearly pays to have a p&i screening on the first full day of the festival. Regardless, it is an unusually effective and historically accurate film. Those are wooden trunnels holding the farmhouse together, not nails. Throughout the film, you can feel a palpable sense of physical and spiritual isolation that malevolent powers may or may not be exploiting. There is indeed a fair degree of ambiguity in The Witch, but it is still safe to say evil is afoot.

The cast also looks and sounds perfectly in keeping with the times. There is no hamming it up or hinting at contemporary ironies. As Thomasin, Anya Taylor-Joy comes across as a genuinely tormented soul, while Ralph Ineson and his rich, commanding voice seem to carry the historical weight of Puritanism and all its collected hypocrisies. These are haunted people in more ways than one.

In the movies, good things rarely happen in the deep, dark woods. The Witch is no exception. It is a visually arresting film, sensitively lensed by Jarin Blaschke with a suitably Puritanical, washed-out color palette, but in a way that pulls viewers into the world and intensifies the mounting dread. Enthusiastically recommended for fans of high end genre films, The Witch screens again today (1/29) and Saturday (1/31) in Park City and tomorrow (1/30) in Salt Lake, as a U.S. Dramatic Competition title at this year’s Sundance Film Festival.