Herzog, Werner, Adjani, Isabelle, Ganz, Bruno, Kinski, Klaus, Ladengast, Walter, Topor, Roland	...	(Director)
Henrik Galeen	...	(Writer)
Max Schreck	...	Graf Orlok
Gustav von Wangenheim	...	Hutter
Greta Schröder	...	Ellen Hutter - seine Frau
Alexander Granach	...	Knock - ein Häusermakler
Georg H. Schnell	...	Harding - Hutters Freund
Ruth Landshoff	...	Annie - Harding's Frau
John Gottowt	...	Professor Bulwer - ein Paracelsianer
Gustav Botz	...	Professor Sievers - der Stadtarzt
Max Nemetz	...	Kapitän der Demeter
Wolfgang Heinz	...	Zweiter Kapitän
Albert Venohr	...	Matrose 1
Eric van Viele	...	Matrose 2

Comments: DGE 179

Summary: Werner Herzog's remake of F.W. Murnau's original vampire classic is at once a generous tribute to the great German director and a distinctly unique vision by one of cinema's most idiosyncratic filmmakers. Though Murnau's Nosferatu was actually an unauthorized adaptation of Bram Stoker's Dracula, Herzog based his film largely on Murnau's conceptions--at times directly quoting Murnau's images--but manages to slip in a few references to Tod Browning's famous version (at one point the vampire comments on the howling wolves: "Listen, the children of the night make their music."). Longtime Herzog star Klaus Kinski is both hideous and melancholy as Nosferatu (renamed Count Dracula in the English language version). As in Murnau's film, he's a veritable gargoyle with his bald pate and sunken eyes, and his talon-like fingernails and two snaggly fangs give him a distinctly feral quality. But Kinski's haunting eyes also communicate a gloomy loneliness--the curse of his undead immortality--and his yearning for Lucy (Isabelle Adjani) becomes a melancholy desire for love. Bruno Ganz's sincere but foolish Jonathan is doomed to the vampire's will and his wife, Lucy, a holy innocent whose deathly pallor and nocturnal visions link her with the ghoulish Nosferatu, becomes the only hope against the monster's plague-like curse. Herzog's dreamy, delicate images and languid pacing create a stunningly beautiful film of otherworldly mood, a faithful reinterpretation that by the conclusion has been shaped into a quintessentially Herzog vision. --Sean Axmaker