#nosferatu spoilers

[slowburncowboy]

She nos on my feratu till the first cock crows

[see-arcane]

You know the one good thing about being a pessimist?

It feels great to be proven wrong.

Bravo, Bobby Egg.

I was so happily surprised by this. This film went through a fantastic puberty between the leaked script and the screen. The main points to note:

-No, Ellen is not hot for Count Orlok. She and Thomas are 110% in love. There are even certain Harker-flavored quotes thrown in to prove as much. (Details under the cut.)

-Count Orlok is a terrifying bastard and a half. Significantly more imposing than classic Orlok’s spindly rigor mortis-stiff figure and only wearing a sliver of Dracula’s performative charm. He is a Devil-Death archetype playing a monster who operates in deceit and contracts to wring out what he wants. That and a lot of corpses.

-This film is so beautiful. No gothic touch is skipped.

In sum, I more than like this film. I love it. It isn’t perfect, because no film can be, but damn. I am so proud of this nightmare you made, Bobby Egg.

SPOILERS FOR Nosferatu (2024) BELOW

-Getting some cons out of the way. There are points where a few of the actors lean maybe a bit too heavy on the ham-and-cheese in their deliveries (I’ll not blame the kids, they’re very young, but yeesh. That’s some cartoon acting.)

Yes, the g-slur is still used; though while I wish it hadn’t appeared in Eggers’ script at all, it does make sense within the context of the setting, i.e. Thomas and the Innkeeper probably only having the one word they know, same as in Dracula. And yes, naked teenage girl-on-a-horse does happen for the vampire hunt scene. Whee.

-Now, an early pro: Eggers nixed the ‘hot teen girl tries to pickpocket Thomas’ bit, and the ‘land of phantoms and thieves’ line never happens. All that happens after Thomas wakes in the inn—post witnessing the vampire slaying in the local graveyard, mud on his shoes to prove it was real—is he discovers himself utterly alone. No people, no horse. Cue the long walk.

-Ellen doing the ‘Come to me,’ bit early on is her in adolescence. It’s revealed that her Weird Girl elements have been turned up to 11, tragic lonely past included (replete with dad threatening to send her to a madhouse), and her prayer was just for company. The psychic ping was picked up by Orlok, who took advantage, turning an isolated and desperate barely-more-than-a-kid’s wish into a ‘covenant.’

-Thomas was met not long after this, cue them being genuinely in love <3

-Knock Does Not Jerk Off On Screen. If he does, his back is to us, and Little Knock is covered with some occult tablet or suchlike while he’s doing his ritual business. Also he kills a guy in his cell. Using his teeth.

-Castle time! Thomas is greeted by a driverless carriage at a crossroads and seems to be hypnotized into stepping in. A lot of things Thomas does once in Orlok’s territory seem to very clearly have psychic puppet strings attached. That and some increasing terror on Thomas’ part. There is no warm Dracula-style welcome from Orlok when he arrives, but a terse and strange leading to the dinner table where paperwork is demanded.

- We get a glimpse of this version of the Count’s ego. Thomas calls him sir. Orlok demands Thomas address him as my lord. And then we get the bread cutting scene. Thomas’ thumb bleeds. Orlok get far too interested. His voice, a very guttural and rasping bass, turns into something closer to an animal trilling and growling. Thomas is paralyzed beside the fire; cut away as Orlok closes in.

-Ellen and Anna Harding have a bit of a Mina and Lucy deal going on at the beach. It’s sweet <3 (Prepare for pain </3)

 - Orlok starts getting tricky. He 1) borrows (steals) Ellen’s locket from Thomas and 2) Tricks Thomas into signing a contract to ‘sell’ Ellen/break their marriage via a strange contract in a language Thomas can’t read, with Orlok using the prop of some gold to imply that this is merely a document in ~his native language~ to complete the property sale. Thomas signs, less for the gold than to be gone from the castle and back to Ellen…only for Orlok to insist Thomas is not well. He must stay the night.

- No mind games here. Just Thomas pleading to leave and Orlok’s parting word being that he will stay, and that he will obey his orders.

-Orlok has already chomped Thomas on the tiddy as of last night. Next night, after Thomas almost lands a blow on him in the coffin—Orlok sleeps with his Orcock out in the box, by the way, alongside several rats—Orlok wills Thomas to unlock the door he shut between them. Cue Thomas being tranced onto the bed, pounced on, and basically dry-humped by Orlok as he drinks Thomas all but dry. Thomas is left that way, only to be woken by Orlok’s wolves—he has those too!—and go clambering out the window, dropping to the river below.

-Orlok makes Ellen’s life hell. Holy fuck. The 1838 quality ‘medicine’ definitely doesn’t help—corsets for correcting posture, draining blood because there’s too much in there, binding to the bedposts to stop sleepwalking, general drugging etc etc—but FUCK. Lily-Rose Depp did a great and terrible job of reproducing shaking fits and some of the faces and sounds she made had me thinking I might choke on my own tongue. And for all the sexually provocative poses/noises that happen, every time she comes out of it it’s clear that she hates this. It’s on par with psychic rape.

-The only times we see Ellen respond positively~ to Orlok’s dream-advances is when she’s telling Thomas about the ‘marrying Death’ dream where everyone died and she was deliriously happy and then the infamous trailer line about Thomas not being able to satisfy her as Orlok can~~~

Well guess what.

Guess fucking what.

That was Orlok leaning on her brain. The same way he did to Thomas when, eventually, after the nuns rescue him and pray the plague/vampirism out and he makes it home while half-dead, he lays in bed with Ellen and gets a panic attack combined with Orlok’s image being grafted over Ellen’s face…

…a reverse of the illusion Orlok gave him in the castle, with Thomas imagining it was Ellen on top of him instead. The effect terrifies Thomas all over again and he unwittingly tosses Ellen away, I can't breathe, get off of me, get off!

-Orlok does his murder snacking. Knock, who escaped, offers to find and kill Thomas to please the Count, literally on his hands and knees. Orlok calls him a dog and backhands him, insisting Ellen must be given, not stolen.

-Orlok has already visited Ellen by this time. He presses her to keep her deal with him. She tells him, flat out, I abhor you. In response, Orlok grabs her and chucks her like a ragdoll in a rage. He fumes, telling her he will give her three nights to pledge herself to him, and in the meantime he will start killing. (RIP to Anna and her little girls, the latter of whom ORLOK KILLS IN FRONT OF HER, EATING THEIR THROATS OUT AS SHE ENTERS THEIR ROOM.)

-Before all that, he spins bullshit about Thomas ~selling her to him for mere gold~. A technical truth that Ellen, mid-Orlok spell, spits back at Thomas amid a rage, along with details that are likewise based in only a granule of reality; but which Orlok did not mention in their scene together. Things like Thomas being weak and childish, that he ‘fell into Orlok’s arms like a fainting woman.’ Interesting choice of spin there, Orlok. But whatever.

This all culminates in what is either reality or a dream or a blend of both as Thomas makes sudden desperate love to her, Ellen weirdly heady about it, telling him yes yes yes they will show Orlok their love. Cue her snapping back to full cognizance (awake? dreaming?) as her eyes and mouth spurt blood in a vision. She collapses in fear and tears as Thomas holds her. AND THEN:

-Ellen. Drops. The I am unclean line. She wants Thomas away from her, she is not worthy, she puts him in danger.

-Thomas goes full Jonathan and clings to her. Nonsense. I love you. I love you. I love you.

-V i n d i c a t i o n

-Anyway.

-Dafoe-Von Franz-Van Helsing is a kooky science occultist. Finds a book that Knock had which fills the role of highlighting Orlok as Solomonari (hey, Scholomance shout out!) and Knock as a would-be beneficiary. Also includes the ‘maiden offers her body and blood to the monster to kill it via sunrise’ bit.

-While he reads this, he does NOT actually spell any of these details out to Ellen when they have their secret mini talk about tricking Thomas into hunting for the coffin with him and Sievers. He gives her a big ~you're the only one who can save us magic maiden martyr~ pep talk, but that's it. Meanwhile, Ellen was already preparing to offer herself to save Thomas and whoever’s left in Wisborg. Not the same kind of agency as the original, but still better than I was expecting.

-Harding, Thomas’ rich friend whose wife and children got drinked to death, dies of plague in the family tomb. They burn the bodies.

-In the ruin Orlok bought, cue the iron stake slamming down as they open the coffin..! But whoops. Knock’s in the box, not Orlok. Von Franz says Ellen offering herself is the only way~ Thomas doesn’t waste time throttling him, just makes a run for their home.

-Too late, of course. Orlok is there (with a very cool homage to the original stalking shadow silhouette routine) and Ellen welcomes him. While they are both naked in bed and it’s implied that they are/or intend to have sex, the bulk of the scene centers on Orlok taking Ellen’s blood from her breast. No clear shot of the Orcock on screen for that bit—Bobby Egg saved that pleasure for the Count flashing Thomas at the castle.

-Orlok’s death throes. Are so. Fucking. Cool. Definitely up there with one of the best vampiric demises I’ve ever seen on film. No spoilers there. You’ve got to see it.

-Heartbreak o’ Clock as Thomas bursts in just as Orlok has died and as Ellen is dying under him. There’s time for them to hold hands. And then she’s gone.

-We close on Von Franz popping up with some poetic soliloquy shit and a bunch of lilacs. The final beat is an overhead shot of Ellen, the Maiden, laying under the now-skeletal Orlok, as Death. Looks almost like a painting. Unlike the implication in the leaked script, she does not look happy/at peace. Simply asleep. The End.

-Other important notes:

1) Orlok has a little combover’s worth of hair on top and mighty and powerful ‘stache. Not Dracula-white, but it is there. Finally.

 2) The guy who plays Dr. Sievers has Alan Rickman’s voice. If he isn’t in opera, he should be.

3) I was too late to get a popcorn coffin box. I shall be in mourning until the New Year.

4) Bobby Egg if you can give me one more gift, let it be a deleted scene of Thomas beating Von Franz over the head with the iron stake, please and thank you <3

[akilahia]

There aren’t any gifs of Nosferatu out yet but just know that once there are, I will make this exact post

[GIF of Nicholas Hoult as Thomas Hutter being bitten by Bill Skwisgaard as Count Orlok. Hutter is sweating profusely with his shirt halfway undone and quite see through, while making depraved noises as his eyes roll back. Orlok is biting into Hutter’s chest. They are both covered in blood and they slowly begin to rise in the air, in a manner similar to floatation.

Caption will read: Need a lesbian relationship like this.]

[auspiciousleader]

Plague curing pussy

[astrangergivingthestrangewelcome]

The movie was sooo good in terms of Jonathan dripping in terror. Like I was watching him run from door to door like *tee hee* "oooooh *kicking legs in the air like a teen girl on a bed* is someone behaving like 'a rat in a trap'? Oh is someone being attacked and overpowered by a creature of the night? Is my bestest boy shaking in fear holding the shovel? Is my special little someone collapsed near death by a riverbank??

[nessa007]

i have now seen two viral tweets about how you see nosferatu’s dick in the new movie

[vulcanscienceofficer]

I am so normal about Nosferatu. The shot of the shadow hand moving across the town. The flowers coming full circle. The delicate balance and intertwining of disgust and desire. What a movie.

[kazz-brekker]

wait actually i just wanna say. i think there can be nuance when discussing ellen and orlok in nosferatu. yes, as shown in the movie, part of her is drawn to him and they do have a connection/attraction even if she wants to suppress it. but also, when she called out to him when she was younger it was from a place of deep vulnerability and fear, and what she wanted was someone to guide and comfort her, not a predator who would try to take over her mind and body while threatening her loved ones. both can be true!

[draculastits]

I don’t think I’m ever gonna get over how Anna in nosferatu really rode hard for Ellen. Like she was always willing to defend her to love her to support her. She fought everyone for her. And in a movie that’s mainly an allegory for rape and assault and how that shame is carried with you making you feel as if you are unlovable having the only other woman in the movie be Ellen’s biggest advocate is just it just means so much to me. When they were lying in bed and Ellen told her “thank you for loving me” it just aaaaaahhhhhhh made me crazy

[gaisytheninth]

Scrolling through the Nosferatu tag, I have to remind myself that not everyone is going to like it and that's ok. Even as I was watching it, I knew "oh, some people are going to hate this." That's fine.

I loved it. It was slow and purposeful. I felt every minute of those 2 hours passing, but never did I resent them. This wasn't a jump scare movie. It was pure, unadulterated creep and suspense. What few jump scares there were were easily predicted, but still effective.

The act one sequence of Thomas in Orlok's castle was the best film adaptation of that I have ever seen. The acting from everyone was phenomenal and I mean everyone from stars to extras. What a fantastic film.

[see-arcane]

My Criticism: the erotic bond of Thomas and Orlok and the romantic/sexual bond of Ellen and Anna deserved more focus. (But that's also my thoughts on the various Draculas). Happily surprised they gave some sexuality to the newlyweds it literally never happens with Dracula media

I think that for the amount of time and the focus of the story, Eggers fit in as much as he could without it overshadowing the main core of 1) Orlok targeting Ellen and 2) Thomas and Ellen being in love and headed for tragedy. And yes! Eggers lets these newlyweds be truly in love and hot for each other! It's like what we deserved with Jonathan and Mina for 127 years, very nearly! :')

SPOILERS BELOW

That said, I do think that short of a real kiss with Ellen and Anna, Eggers gave us a decent 'what-if' of what Mina and Lucy might have been like if they both made it to marriage (bar Harding not quite measuring up to Arthur Holmwood standards, loving husband and father though he is). They are both married young women now and Ellen is rooming under Anna's husband's roof. It'd be tricky to have anything properly raunchy go on, but we do at least get that scene of Ellen laying in bed with Anna!

Before the Orlok business happens. Augh.

As for Orlok and Thomas...oh, but there is a lot to unpack there.

To be clear, this is very much not Dracula and Jonathan's weird predatory thing. It is another, weirder, semi-callback to The Lighthouse kind of thing. At least in the vein that the brief homoerotic flints of interaction we get there--

The slow dance scene where the two men who hate each other almost share a kiss, only for the younger man to recoil in panic.

A scene of insults and accusation where the older man describes the younger as having eyes like a lady's.

--lean on braided elements of homoeroticism, homophobia, and violent/elder masculinity baring its teeth at gentler/younger masculinity via comparisons to women.

Or, to be frank, even as Orlok is bitter at Thomas being the man Ellen chose despite their 'covenant,' it isn't just the bitterness of, "She chose another man over me!" but, "She chose a weaker, younger, effeminate man over me!" Which paired perfectly (horribly) with his running theme of being a psychic rapist. Orlok is the more masculine man. Thomas is, in his eyes, the lesser, effete competition. Why, the boy may as well be a woman himself.

Cue Orlok taking a route with Thomas that we never see him take with any other man in the movie. He preys on Thomas in the exact same way he would eventually do to Ellen at the climax. The only dignity he leaves the young man with is that he does not strip him as he feeds--only Orlok is naked, crouched and feeding at Thomas' breast twice. The first time being the result of getting almost obscenely aroused--literally or hungrily--at the sight of Thomas' thumb bleeding. All we get to see there is Thomas' terror under sudden paralysis as Orlok closes in. And the next time we see Thomas is him, not on the chair where we last saw him, but sprawled on the floor.

On his stomach.

Dressed, true. But with his face and front down. Already bitten at the heart.

Then, in his last scenes with Orlok, we see him actively try to kill Orlok in his box. Orlok stops the attack, tracks him down to the locked room Thomas has hid in--a room in his own castle! which he could unlock!--and purposefully uses a trance to make Thomas open the door. Just as he trances Thomas into laying himself out on the bed, locked and afraid in his own body. Orlok falls on him, feeding again at Thomas' chest, loudly and deeply draining what sounds like a horrific amount of blood.

(There's a comment to be made about the reversal of taking in bodily fluids, but we'll skip that for now.)

In the midst of this, Thomas is treated to a vision of Ellen in Orlok's place. Seeing it, he looks almost docile. Welcoming.

Orlok, naked, drinks and drinks. And leaves him on the bed.

Instead of slaughtering him. He doesn't even call the wolves to him once he's finished to eat the leftovers.

Which I find strange, considering that in a future scene, Orlok muses aloud to Knock that Thomas yet lives. As if he's surprised. Did he have the wolves on a mental timer to come after Thomas by daylight? Or did he think that, despite Thomas' heart still miraculously beating, he had drained enough blood to assume the young man would die on his own?

Or.

Was the surprise not that Thomas was alive, but alive and human? Not the undead, like himself, like he planned to make Ellen?

It doesn't add up to have the wolves only appear by daylight to spook Thomas out of the window--if Orlok was so concerned about technically keeping his hands clean of murdering him and so keeping the covenant with Ellen technically not a thing of theft, he could have absolutely let the wolves in that night to finish the job and be sure Thomas was torn to pieces. Instead, Thomas is intact come sunup, the door left open to the wolves...

...who only come running and raging up to him once Thomas proves to still be alive and awake despite how he passed the night. Can't be undead if you aren't dead first. This, combined with how Thomas states later on that he still feels Orlok's shadow/hold on him, seems to imply that Orlok didn't want to just kill Thomas off. He seethes about Thomas so deeply that he would rather see the young man under his heel forever just as he means to keep Ellen under his thumb and mentally assaulted at every opportunity.

If Ellen is Orlok's prize for desire's sake, Thomas is Orlok's conquest made out of pride. 'Making a woman' of Ellen's chosen man. Hell, he puts the words in Ellen's mouth when he tugs a mental string in her to get them fighting. Despite Orlok only ever mentioning the technical truth of Thomas 'selling her for gold' (with a contract he could not read and assumed was for a commission and a completion of a house sale), Ellen somehow has the knowledge to accuse Thomas of 'falling into Orlok's arms'--when, in fact, Orlok mounted Thomas and did what he did.

...

......

.........

Which brings me to the grimmest point of this whole fucked up mess which I really truly hope is Not the Case.

Orlok had his puppeteer hands in both of the Hutters. He was obviously leaning heaviest on Ellen, but he had his grip on Thomas too. So I have to wonder.

How much of the sex scene between the Hutters was entirely their will?

What if Orlok, in full voyeur fashion, pulled even more strings to make that sudden feverish intimacy happen? Ellen says aloud that they will show him their love. Is it a show only Ellen wants them to put on? Or is it Orlok, once more violating his victims by proxy? Either way the shock-vision of Ellen weeping and vomiting blood cuts the mood immediately--however real or imagined it was--and both Hutters snap out of their haze to embrace.

No no no I am unclean

Nonsense I love you I love you

Something else for Orlok to watch. A little knife-twist from his face-to-face with Ellen--You cannot love--and fuel on the martyr fire for Ellen, who heard from Orlok that he would kill all she loves, including Thomas, if she refuses him--in another life, another threat: (If you make a sound I shall take him and dash his brains out before your very eyes.)--though the villain could have killed him a dozen times already. But she cannot take the gamble.

All of which is a very very long way of saying that while Orlok's main focus is definitely on Ellen, there are signs of another stranger hate-attraction with Thomas. The opponent he wants in full submission versus Ellen, the runaway bride to coerce into being his equal.

tl;dr: They're just not that into you, Orlok, let it go

[jackiedaytona]

you think aaron taylor johnson read the script about an old decrepit creature grooming a younger person since childhood to marry it and was like “yeah idk it just really spoke to me”

[violetstarrs]

imagine being so horny that you summon an ancient demon to get obsessed with you, posses you, kill your loved ones, and completely destroy your city.

anyway i loved nosferatu deeply.

[braixen]

[astrangergivingthestrangewelcome]

Me and my father, driving home after watching Nosferatu in theaters:

Me: well that was better than expected but by far the worst part of that movie was the awful Jonmina fight and then weird sex the second night.

Dad: it was great! Erotica would have been totally out of place thematically!

Me: Out of place thematically! Besides the fact that both of them and us as an audience deserve to have "some* tenderness amidst the abject suffering, it would have been a perfect thematic parallel. An actual showing of the true love and passion she has with Thomas as in opposition to everything Count Orlok represents. A love that is worth sacrificing her life for. That wouldn't fit thematically you absolute nerd??!!

So my father sent me a trailer for the new Nosferatu, which actually looks well worth watching, only I can already tell it's going to center Mina's dark attraction to Dracula and sideline Jonathan... again. Still planning on watching it but man. My father chose violence and brother, that's why I sleep with a gun

Anyway. What this conversation really made me realize (I mean I already knew this but it made me re-remember it) is that we are such minority of the audience out there for Dracula films. Most people like and want to see a dark romance between Mina and Dracula with Jonathan cuckolded on the side. They look for it when engaging in Dracula media, even. And you know what? More power to them. We're not the Dracula media police. You can like fanon more than canon, if that's what people like, fine. But what it does mean for us is we are never going to get a big mainstream creative project made with the adaptation choices we find interesting. There's just no market for it in comparison to the Mina and Dracula audiences. I wish there was. I would love to sit in a movie theater and really enjoy a good filmed adaptation. But it's not going to happen. We have to do it ourselves, and we have to take care of our own. Last I checked the Holmwood Foundation was at 74.62% of their total goal. That's less than $8,000 to go, less than £6,000. I've updated my pledge and I think if you are financially able to, it's something you should consider doing too. They have 4 days. If we all just doubled the amount of our original pledge surely we could get them there. I just. It's a small thing but I need something to look forward to in 2025; I suspect we all do. No one else is going to get this done for us except us.

[1morey]

Me in IMAX seeing Count Orlok's dick: