Nosferatu

 

Over winter break, I had the pleasure to see Robert Eggers' most recent masterpiece Nosferatu. This gothic horror film is a remake of the 1922 silent German Expressionist film Nosferatu: A Symphony of Horror.

The sets and sound design were phenomenal. The acting? Chef's kiss. Lily-Rose Depp's performance was fantastic! A true standout amongst the star-studded cast. She perfectly captured the quiet resilience and inner darkness of Ellen Hutter brilliantly. Bill Skarsgård completely immersed himself into Count Orlok. Every character was brought to life so clearly, they might as well have been real. Eggers truly elevated this film, not only building off of its themes of "The Other", but furthering it as an analysis and commentary on women's existence in Victorian society. I felt totally and utterly immersed into the world's inner workings.

Here's a quick synopsis: In the 1830s, estate agent Thomas Hutter travels to Transylvania for a fateful meeting with Count Orlok, a prospective client. In his absence, Hutter's new bride, Ellen, is left under the care of their friends, Friedrich and Anna Harding. Plagued by horrific visions and an increasing sense of dread, Ellen soon encounters an evil force that's far beyond her control.

Beyond the practical construction of the world, I loved the themes Eggers interwoven into the narrative. I think the metaphor and dynamic that has caused the most contention is the relationship between Ellen and Orlok. In my opinion, Orlok existed as a manifestation of Ellen's repressed sexuality and desires. She first encounters him at the beginning of the film, calling out for companionship. She sleepwalks outside as her body arches in a manner reminiscent of an orgasm. This scene acts as a metaphor for Ellen's sexual awakening, particularly through masturbation. This, coupled with Orlok's awakening, marks the beginning of Ellen's sexual desires and longing for a life that transcends traditionalism. 

Ellen and Orlok's first meeting

Later in the film, when taking a stroll with Anna, she comments on her wishes for something more. Ellen does not crave the domesticity or prestige exemplified by the Hardings and what Thomas strives for. Her resistance to these restrictive expectations causes everyone around her to deem her fragile and belittle her (save for Von Franz and Orlok). Von Franz recognizes Ellen's powers and its suppression by societal expectations. As a distorted manifestation of Ellen, Orlok also recognizes her power and tries to make her see it albeit in destructive ways.

This goes into how the narrative views Ellen and how she views herself. Her psychic powers, sexual desires, and wish for nonconformity distinguishes her as a literal and metaphorical monster. She defies what is considered "right" and moral.

Ellen fears this part of herself and deems it grotesque, which is why Orlok manifests as a rotting creature of the night who brings plague. As a vampire, his eternal craving for blood comes at the expense of others. With Ellen in such a rigid patriarchal society, to act upon and embrace her desires would put her at risk of being ostracized and sent to an asylum–a sure death sentence. Throughout the film, her night terrors are characterized by body contortions that mirror an orgasmic climax. During these episodes, she communicates with Orlok, solidifying their connection and the re-awakening of Ellen's longings.

Now let's get into the symbolism of some of the deaths in the film. When Orlok finally arrives in Wisburg, he brings plague-infested rats that plunge the town into death and chaos. Amongst his first victims are the Hardings. They are the picture perfect family. They have two cherubic daughters and a son on the way. Furthermore, when Anna first falls ill, she rambles on about longing for more outside of her life as a mother and wife. Throughout the film, she and Ellen spend much time together and are very intimate with each other in a non-sexual way that implies sapphic undertones. Their deaths at the hands of Orlok are an extreme representation of Ellen's rejection of domestication and the inner death one undergoes when hiding these aspects of themself.

Now Ellen's husband Thomas is an interesting figure. While he fiercely loves Ellen and bravely faces various horrors to save her, he does not understand her. He cannot comprehend that her sexual appetite and psychic powers are innate parts of her that she does not need saving from. He sees them as something to tame rather than embrace. In the beginning of the film, he continuously brushes off her concerns and dreams in pursuit of wealth. While he soon believes in Ellen's abilities after his encounter with Orlok, it is not full acceptance. This is why Ellen and Orlok are meant for each other. They are one in the same.

At the end of the film, Ellen realizes that a woman like her cannot exist freely in society. Her consummation with Orlok symbolizes her acceptance of these rejected parts. It is a tragic metaphor for women of the time. Women were and still are shunned for desiring a life, an existence outside of the one demanded of us. Ellen only saw these parts of her as twisted and evil because life did not give her any alternatives. Only in death could she make peace with her darkness.

Overall, Nosferatu is a tragically beautiful Gothic horror that spotlights the repression of female longing and how it continues to be Othered by society. If you like Phantom of the Opera and Crimson Peak, you'll probably dig this.

Until next time!

XOXO, Michaela