When watching Nosferatu this morning I couldn’t help but notice the
comparisons between Gary Oldman’s performance as Dracula and that of Max
Schreck. Obviously this could have been due to the fact that Gary Oldman was
playing Bram Stoker’s Dracula and Nosferatu was essentially the same story. But
the play with shadows in both films is really interesting. Seclusion also plays
a big part in this film, as each character seems confined in some way, Harker
by the castle, Mina by her thoughts, Renfield by the asylum etc. You have two representations of women in
the horror movie, the virtuous thoughtful obedient wife, and the flirtatious
frivolous woman. Obviously it is
the latter that dies. In this
movie Dracula is perceived as both the suave romantic with undying love and the
horrible grotesque creature that he has become. He begins to have an internal
struggle with what is important to him when Mina Harker enters the picture. Ultimately love prevails in this film
but love for whom. Mina seems to do a full 360 and take charge of her own
destiny instead of being so compliant with life and she ends up actually
choosing the vampire. There is a definite struggle here between the damned and
the saved. Lucy is saved but only too late and the question remains if Dracula
truly is? You see his appearance change when Mina finally kills him (he was
dying anyways) back to that of his “ true nature” so he may have been. There is also a hint to the fetish
quality of vampires when Dracula and Mina finally end up in bed together and
only becomes more prevalent as that scene plays out. The relationship between Dracula and the animals is pretty
important here as he cannot only control the “ children of the night” but can
also become something of one himself. Again this is the animal sexuality that
appears in horror. This is incredibly blatant in the scene between him and Lucy
when he essentially rapes her as this man, animal, wolf, bat hybrid. While this movie doesn’t always mesh
entirely with the book it still depicts Vampire Horror in a rather traditional
sense then that of the works of today.
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