As our columnist J M McDole noted recently, the cinematic vampire has evolved over time - the winner or victim of increasing budgets, special effects and a vast range of literature that Hollywood has broughht to the screen. But there's something to be said for going back to basics.
Out on selected screens across the country for Hallowe'en is the granddaddy of the vampyric films, Nosferatu, directed by F W Murnau. While the modern movies often go for obsessive blood-letting, gruesome deaths and vamps you might actually want to go bump in the night, this 1922 entry, in flickering black and white, is still capable of sending an impressive chill up the spine. Yes, the quality of the images may have improved over the years - though this latest restoration is very impressisve in itself - but the stark monochrome menace of yesteryear has to be judged by the era in which it was created... it's an astonishing achievement given the resources available and it leaves an indelible footprint that almost every significant horror entry has since walked upon.
There's certainly no sparkles here as the bald-headed, mega-toothed Count Orlok dominates each frame in which he appears, though Murnau makes strong use of the creature's shadow as much as his haunted skeletal face. Orlok was played by Max Schreck (the name referenced by Tim Burton in Batman Returns and also alluded to by the fairytale Shrek movies) and gives the vampire a sense of otherworldliness, almost like a rat calculating his chance of getting the cheese. Many of the key elements of vampire legend are here - the sucking of the blood and the hatred of daylight, but it all feels very raw, even if in a stylised way. Watching it in on a decent-sized screen with the lights turned down is still an interesting experience and if we've come a logn way since, Nosferatu still teaches us some very tellign lessons about atmosphere and technique.
The film's real-life history is an interesting story in itself. It was an unauthorised version of Bram Stoker's classic Dracula and after a law-suit all the prints were to be destroyed. However it was not so easily cast into the abyss and a surviving print ensured that the film metaphorically rose from the grave and rightly became a major part of cinematic history.
As well as the remastered version at cinemas, fans of the film - and horror enthusiasts in general - will get another bite of the cherry/neck at this month's Gothic Film Festival at Kirkstall Abbey in Leeds. The abbey is situated between Leeds and Bradford (on the main A65 route) and is a 12th century ruined Cistercian monastery. A key component of the BFI’s blockbuster Gothic project, the four-day Gothic Film Festival runs 31st October – 3rd November. Nosferatu is the opening film, screened within the ruined abbey with live accompaniment by musicians, Gunter Buchwald, Jeff Davenport and composer/presenter of BBC4’s recent Sound of Cinema series, Neil Brand. The film is being projected within the walls of the abbey itself in a specially designed auditorium will seat 400 people.
While the original monks might take issue with the suitability of their abbey for such nefarious purposes, there's no doubt the atmosphere and aciustics should be impressive. The programme of events will also see screenings of classic Gothic titles such as Night of the Demon (which will be introduce by Impact's own Tony Earnshaw), Witchfinder General, The Devil Rides Out, Bride of Frankenstein, Passion of Joan of Arc and The Innocents.
Nosferatu returns to selected cinemas from Friday October 25, 2013, via Eureka! Entertainment and you can still get tickets for the Kirkstall Abbey screening via: http://gothicfilmfestival.co.uk/
