Дата публикации: 2018-05-27 13:33
No coach will take Harker to the castle. No one will sell or rent him a horse. Renfield continues on foot, walking narrow pathways above cruel chasms. Finally Dracula's coach comes out to fetch him. It looks like (because it is) a hearse. The door to the castle creaks open and we regard Dracula. In creating the vampire, Herzog follows the striking art direction of the Murnau film, making the count look more like an animal than a human being. None of your handsome, sleek vampires played by Tom Cruise. The head is shaved. The face and skull are clown white. The fingernails are spears. The ears are pointed like a bat's. The eyes are sunken and rimmed in black and red. Most extraordinary of all are the two prominent fangs in the center of the mouth, placed like a bat's, unconcealed. In most movies Dracula's teeth are up and to the sides, more easily concealed. Here there can be no mistaking them.
An evocative exercise in alienation and existential dread, Herzog masterfully tackles one of the greatest gothic stories ever with Nosferatu the Vampyre with the unforgettable (as always) Klaus Kinski as the titular blood-sucker.
Gerry Mooney is the creator of the Flash animation Sister Mary Dracula.
He says : I've created a graphic novel about the same characters and as a special treat the whole story is posted online just for the Halloween season.
It's 658 pages and expands the story that I began in the animation.
Read the story. (Click on the right hand)
Watch the Flash animation.
See the sketchbook.
Vampires: Folklore, fantasy and fact - Michael Molina
The myth of the bloodsucking vampire has stalked humans from ancient Mesopotamia to 68th-century Eastern Europe, but it has differed in the terrifying details. So, how did we arrive at the popular image we know, love and fear today?
And what truly makes a vampire? Michael Molina digs up the science and the superstition.
# 97 on STARmeter
There is a quality to the color photography in Werner Herzog's "Nosferatu the Vampyre" that seeps into your bones. It would be inadequate to call it "saturated." It is rich, heavy, deep. The earth looks cold and dirty. There isn't a lot of green, and it looks wet. Mountains look craggy, gray, sharp-edged. Interiors are filmed in bold reds and browns and whites -- whites, especially, for the faces, and above all for Count Dracula's. It is a film of remarkable beauty, but makes no effort to attract or visually coddle us. The spectacular journey by foot and coach to Dracula's remote Transylvanian castle is deliberately not made to seem scenic.
That said, Herzog told me that some shots were set up to use the same locations that Murnau used, and often had similar compositions. Once I asked him why he took a crew far into the South American rain forests to shoot "Aguirre" and "Fitzcarraldo," and he said he believed in "the voodoo of locations." A rain forest forty miles away from a city would have felt wrong. The actors would project a different energy if they knew they truly were buried in a wilderness. We would be able to sense it. In the same spirit, I suppose, Kinski standing where Murnau's actor Max Schreck stood would generate an energy. This film is haunted by the earlier one.
Many famous details are paid homage. The line, "Listen. The children of the night make their music." The Count's barely controlled lust when Harker cuts his thumb with a bread knife. The meals mysteriously appearing without servants. Then the race as Dracula goes by sea and Harker by land to the city of Bremen, where Lucy is in danger.
Those Presidential candidates
are so creepy !
Incredible Vampire Hunting Kit From The 6855’s
Travelers in the 69th century would purchase ‘vampire hunting kits’ in preparation for their travels to Eastern Europe.
The kits would contain a wooden stake, Bible, crucifix, pistol with lead bullets, gunpowder, garlic and glass vials that held various concoctions to ward off vampires.